Oz Magazine September/October 2015 - TALENT Special Issue

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Lightnin Production Innovative. Quality. Service. Rentals

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STAFF Publishers: Tia Powell (Group Publisher) Gary Powell

Editorial: Gary Powell


CONTRIBUTORS CHRISTINE BUNISH Christine Bunish has been a writer and editor covering the professional film, video, broadcast and advertising industries for more than 25 years. She was a writer at Broadcast Management/ Engineering and World Broadcast News and an editor at Millimeter before going freelance. (Go Ahead and Pinch Yourself p.38 / cbunish@gmail.com)

JESSE BROOKS Jesse Brooks is a writer and video editor from Atlanta. He lives in Cumming with his wife, Ashley, and dog, Maya. (Nail Your Audition and Get The Big Part p. 96 / jessedanielbrooks@gmail.com)

Monique McGlockton Kris Thimmesch Martha Ronske Kristina Foster


Christine Bunish Jesse Brooks Andrew Duncan Michael Garland Allen Rabinowitz Lindsey Shamblen Jake Shiptenko Amy Swann

ANDREW DUNCAN He is known in the motion picture industry as “Drewprops,” and has been writing about the craft of filmmaking from the inside out since the mid-1990’s. His confusing and often embarrassing stories from behind the scenes provide a unique insight into the craft of filmmaking from the perspective of the shooting crew, artists, and designers who bring your favorite films to life on the big screen. (The Voice of Siri p.44 / www.drewprops.com)

Creative Director: Kelvin Lee

Production and Design:

Kelsey Waugh Ted Fabella (Oz Logo Design)

Cover Image: Huainan Li

LINDSEY SHAMBLEN Lindsey’s work has appeared in newspapers, blogs, and magazines related to health and medicine, insurance, real estate, and politics. She has a BA in History. When she’s not working, she’s most likely binge-watching something irreverent on Netflix. (Cushy Landings p. 86)


ALLEN RABINOWITZ A contributor to Oz since 1993, covering advertising, cinematography, graphic design and photography. One of the first chroniclers of the Punk Rock scene in his native New York, Allen’s work has appeared in local, national and international media including Communication Arts, How, Photo District News, Shoot, Folio, Agence France-Presse and Georgia Trend. (Make Me A Star p. 56, Tinsel and Sham p. 74)


www.ozmagazine.com www.facebook.com/ozpublishing www.twitter.com/ozpublishing

JAKE SHIPTENKO Jake Shiptenko is currently a attending St. Pius X Catholic High School in Atlanta. He has written and directed several short student film productions. After graduation, he hopes to get a college education in film production. (So You Want to Be in the Movies... Then You’ll Want to Have a Resume... p. 90, The Child Actor p.92, Is That You? p.94)

(404) 633-1779 Oz Magazine is published bi-monthly by Oz Publishing, Inc. 2566 Shallowford Road Suite 104, #302 Atlanta, GA 30345 Copyright © 2015 Oz Publishing Incorporated, all rights reserved. Reproductions in whole or in part without express written permission of the publisher is strictly prohibited. This magazine is printed on recyclable paper.



AMY SWANN Amy Allyn Swann is an award-winning journalist and a 30-year veteran of print media. She has written about a number of film and television productions in the Savannah area. (Read Set, Arrrfff! p.82, swannamy5@gmail.com)





Go Ahead and Pinch Yourself

44 FEATURE STORY The Voice of Siri


50 Gold & Silver Circle Awards 52 Georgia Governor’s Tourism Conference 53 Steve Harvey’s Neighborhood Awards with Bronzelens






Members of Georgia Governor Nathan Deal’s advisory board for the film and television production industry were sworn in at the State Capitol.



eorgia’s entertainment industry is on the rise, and Gov. Nathan Deal has appointed a panel of experts to help the state’s film, music and digital entertainment office stay ahead of the curve. The Georgia Film, Music and Digital Entertainment Office’s new advisory board: Matt Thompson, executive producer and co-owner of Floyd County Productions, an Atlanta-based animation production company. Michael P. Tyson, rigging gaffer on Amnesia Productions LLC’s feature film Element, whose past projects include Insurgent, The Hunger Games — Catching Fire, The Hunger Games — Mockingjay, Parts 1 and 2, and The Accountant. Andrew Greenberg, executive director of the Georgia Game Developers Association and lead developer on the upcoming Fading Suns: Noble Armada mobile and tablet game. Mike Akins, business agent for the International Alliance of Theatrical Employees, Local 479. Stephen G. Weizenecker, partner in the Atlanta office of Barnes & Thornberg LLP. Craig Miller, founder

of Craig Miller Productions and co-president and public relations chair for the Georgia Production Partnership. Stratton Leopold, owner and operator of Leopold’s Ice Cream and producer, executive producer and/or co-producer on many films, including Mission: Impossible III, Paycheck, and The Sum of All Fears. John B. Raulet, real estate professional with Raulet Property Partners and owner and operator, along with his partners, of film and television sound stage facilities Mailing Avenue Stageworks and Westside Stageworks. Donald W. Pearson, owner of Pearson and Co. in Tifton, Ga. Karla Redding-Andrews, executive director for the Otis Redding Foundation. LaRonda Sutton, director of Atlanta Mayor Kasim Reed’s Office of Entertainment. Christopher W. Klaus, founder and chief executive producer at Kaneva. Jim Pace, co-founder of Group VI, a Peachtree City, Ga.-based real estate and construction firm that is responsible for the overall development of Pinewood Atlanta Studios. Craig Heyl, overseer of Turner Studios’ Production and Creative

Services, Business Operations and Technology teams. Kris Bagwell, executive vice president of EUE/Screen Gems Studios in Atlanta and founding chairman of the Georgia Studio and Infrastructure Alliance. Shay Bentley-Griffin, president and CEO of the Chez Group and a producer and developer of content for television and film and founding president of the Georgia Production Partnership. Georgia State Senator Charlie Bethel, who represents District 54. Jody Jackson, executive director of the John Jarrard Foundation in Gainesville, Ga., who has managed several nationally renowned artists like Shania Twain, B.J. Thomas and T. Graham Brow. Georgia State Representative Butch Parrish, who represents District 158. Georgia State Senator Jeffrey E. Mullis, who represents District 53. Georgia State Representative R. Brian Strickland, who represents District 111 and is a partner at Smith, Welch, Webb & White LLC in McDonough, Ga.



he Association of Film Commissioners International (AFCI) Cineposium 2015 Film Summit is taking place this year in Barcelona, Spain. At this year’s event film commissions and tourism bureaus from around the globe will converge for the three-day summit dedicated to the topic of film tourism. Panelist speakers and new program sessions include: HBO executive, Mara Mikialian, Vice President of Media Relations joins How Northern Ireland Wins at



Game of Thrones program session, joining Moyra Lock, Head of Marketing for Northern Ireland Screens and Brian Twomey, Head of Content and Marketing Communications for Tourism; Graham Broadbent, a film producer most noted for The Best Exotic Marigold Hotel franchise, joins longtime Quentin Tarantino film producer, Richard Gladstein (Pulp Fiction and The Hateful 8) in their Building Trust: Producer as Partner program session; and Oliver-Rene

Veillon, Director of the France Film Commission and Aaron Wodin-Schwartz, Director of Public Policy, Brand USA will speak at the newly added program session, Filming in Protected Lands, which will examine the intersection where film and tourism meet at national landmarks and other sensitive and protected lands.


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ountain View Group, Ltd. and its client par tners were recently recognized by the International Association of Business Communicators (IABC) for their outstanding creative communications work at the 2015 Golden Flame Awards ceremony. The awardwinning entries ranged from design-driven digital content, web shorts, internal communications, and strategic brand manifestos that exemplifies the scope of Mountain View’s capabilities. In the Digital Communication Skills Division, Mountain View was awarded multiple Golden Flames for their work with the High Museum of Art. The Dream Cars web short, which featured a temporary exhibit of 17 classic cars from private collections around the world, received a Golden Flame award, as did the Art of the Louvre’s Tuileries Garden short, in which unexpected physical comedy, live action, and approachable characters promote a temporary exhibit. Mountain View received their biggest winnings in the Audio/Visual Communication Skills Division, showcasing their strength in multimedia communications using sound, images, design, video, and keynote presentations. A Gold Flame was awarded for

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their “by-the-numbers” promotional spot for Trees Atlanta, which highlights the work the nonprofit does and the resources that go into building a greener city. A Silver Flame was awarded for the Alcon Orbis Stories Video, an earnest overview of Alcon’s commitment to enhance the sight and lives of people. The promotional cinema trailer for Barco also received a Silver Flame. The trailer was showcased in Cinemark and IMAX theatres around the world, and focused on building brand awareness with modern moviegoers. Finally, a Bronze Flame was earned for GE Power & Water’s Power Generation Services Overview, a compelling piece that demonstrates the global expertise and breadth of their business. In the category of Marketing, Advertising and Sales, Mountain View received a Silver Flame for their work on Raytheon’s newest brand overview film, To Make the World a Safer Place. A Bronze Flame was awarded for the GE 9HA Harriet Validations Test Updates, a series of 10 videos for GE’s gas turbine that made complex and technical content digestible to diverse audiences.

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OZCETERA PC&E new Canon 17-120 (T2.95).



ow starring at PC&E: the Canon 17-120 (T2.95) combines the functionality of a broadcast ENG-style motorized zoom lens with the optical precision of a cinema zoom. The lens is designed for use on cinema cameras with sensors up to super 35mm (26.2 x 13.8mm) in size and is suitable for 4K acquisition. The Canon 17-120 is available in either PL or EF mount and is an ideal choice for the solo camera operator or a full camera crew. PC&E’s ARRI Amira cameras have recently been upgraded with the UHD (4K) license. This allows ProRes codecs up to ProRes 4444 to be recorded in ultra high definition 3840 x 2160 resolution directly onto the in-camera CFast 2.0 cards, at up to 60 fps. The UHD upgrade is included at no additional charge with all their Amiras. All of PC&E’s RED Epic Dragons have recently been retrofitted with low light optimized OLPFs (optical low pass filters). The low light OLPF provides excellent color and tone reproduction in dim environments while preserving color quality in midtones, darks, and shadows. The low light OLPF now comes standard on Dragon rentals but the original skin tone OLPF is still available upon request. Coming Soon! The new camera truck will be available to rent. It is a gas powered 2015 Isuzu NPR HD automatic that has been outfitted to make it the ideal camera truck on any commercial. It’s the baby of Paul O’Daniel in the camera department.



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It’s lights, camera, and action for SCAD Atlanta’s new BFA in film and television.



he Savannah College of Art and Design (SCAD) has expanded the film and television offerings at its Atlanta location to include a Bachelor of Fine Arts (BFA) in film and television. The new degree program launched in the fall of 2015. “Georgia’s television and film industry is thriving, and we rank third in the nation for feature film production,” said Georgia Governor Nathan Deal. “Our diverse location and production resources make our state the ideal setting for growth in the industry. Now, we also have local companies and highly skilled Georgia workers available to perform the jobs that film companies demand. Programs such as this new degree at SCAD Atlanta form a network of training and education that will keep Georgia on the cutting edge of film and television production, will attract more high-profile projects to the state and will allow talented Georgians to practice their trade here at home.” SCAD Atlanta students who pursue the BFA in film and television will study and work in the SCAD Digital Media Center, a 60,000 sq. ft. film, television and digital media hub. There, motion capture and green screen production capabilities, sound recording and mixing suites, editing rooms, screening spaces, and set and prop fabrication studios enable a wide spectrum of work to be created in a fully-equipped studio environment. SCAD Atlanta also offers state-

of-the-art stage and screen venues including SCADshow, the 13,300 sq. ft. theater complex on 14th Street in Midtown which features a 375-seat main stage theater, 4K Digital Cinema Projection, Dolby Digital Surround Sound and second floor production offices. SCAD will continue to offer the BFA in film and television at its Savannah location, which recently expanded to include the Savannah Film Studios. Program coursework will be supplemented by SCAD signature events such as aTVfest, an international festival that brings together professionals from all spheres of T V and media content production to discuss industry trends, showcase the best work in the field, and participate in master classes with students. SCAD’s upcoming aTVfest will be held February 4-7, 2016 in Atlanta. Additionally, through SCAD’s internship programs and limitless opportunities in Atlanta’s booming entertainment sector, students garner real-world experience in film and television while preparing for a seamless transition into the job market. Recent jobs and internships include work on Jurassic World, The Walking Dead, Ant-Man and The Hunger Games: Catching Fire, and at major networks such as Turner Broadcasting System, Cartoon Network, FOX Sports and CNN. SCAD students in the BFA program for film and television will learn from preeminent

faculty who have earned professional distinction at the highest levels with Primetime Emmys, Peabody Awards and numerous Academy Award nominations, among other prestigious honors recognizing their exceptional work. The addition of this new degree program follows the introduction of the film and television Master of Arts and Master of Fine Arts programs last year at SCAD Atlanta. The university expands its accredited degree programs in film and television as Atlanta continues to grow as the epicenter of Georgia’s film and television production industry. For over 30 year s, SCAD has been preparing film, television, sound design, animation, visual effects, and production design professionals and actors for leading careers in entertainment. And this year alone, SCAD students and alumni have enjoyed significant professional success as a result of their leading film, television, and digital media education and career preparation. They earned top accolades at the Annie Awards, the Student Emmys by the Television Academy Foundation, the Sundance Film Festival, the Golden Reel Awards, and the Atlanta Film Festival. Recently, SCAD filmmakers continued a global presence at the Cannes and Annecy film festivals, screening their work before an international audience of entertainment executives.

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fter one year of intense graphic design, legal research, and print trials, RJR Props has released realistic prop money for the film and television industry. Reviewing all legal requirements, counseling with law enforcement,






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OZCETERA More Magick: Chris Fogg, CEO/owner; Jim Bowhall, new vice president and creative director; Dan Reichard, new creative services business manager; and Lisa Ferrell, EIC of production/executive producer.



agick Lantern has added Jim Bowhall and Dan Reichard to its team. Bowhall will serve as Magick’s vice president and creative director with Reichard rounding out the team as creative services business manager. The addition of Bowhall and Reichard will elevate Magick’s visibility to a national brand level. This is the first of several changes coming to Magick Lantern, a creative production company specializing in the creation of high quality content for any platform, according to Chris Fogg, CEO/owner of Magick. “I am excited to have Jim and Dan on our team. We’ve been planning and carving a new



path for the future, and Jim has the vision to bridge the gap and get us from where we are today to where we want to go,” said Fogg. He added, “Dan’s ability to network, involvement in the community and relationships make him a great fit. He’s tenacious, creative and his energy and attitude make him great to be around.” “Magick Lantern’s expanding team of artists and strategic partnerships are steeped in creative storytelling,” said Reichard. “Whether it’s collaborating with clients, or creating original content, the goal is the same: to engage the viewer with stories that resonate and speak to

our collective curiosity, humanity, and humor. I feel like the proverbial kid in a candy store!” “Magick Lantern is perfectly positioned to continue evolving in the coming months and I am excited about creating a new hub for Atlanta’s creative community and strengthening our brand by embracing the changes we are all seeing, in a way only an artist-lead company can,” said Bowhall. “What we are about to do, that will be the real story and we’re excited about telling it.”

OZCETERA Jaclyn Paris joins Beast Atlanta as executive producer, and will have production oversight roles at sister companies Company 3 and Method Studios.




eluxe Creative Services has added Jaclyn Paris as executive producer for its growing Atlanta facility. In this role, Paris serves as the executive producer for Beast Atlanta, as well as overseeing production for co-located sister facilities Method Studios and Company 3. Paris joins Deluxe from Cosmo Street Editorial, where she was head of production. She previously held various senior production roles at Lost Planet, Rabbit Content, Ravenswork Audio, and feature documentary outfit Isotope Films. “Jaclyn has a very diverse background that makes her uniquely suited for this role and for the collaborative environment here,” said Billy Gabor, managing director in Atlanta. “She’s well-versed on all aspects of post production and can guide a project through every step of the process; she’ll be key in helping us further integrate our service offerings for an even more seamless client experience.” “As a producer, it’s a dream to work in this environment where we can offer our clients both the intimacy of a boutique shop, and the first class resources of a global company,” said Paris. “Our Atlanta tri-branded studio’s unique strength is in its interdisciplinary approach. Collectively, we’re able to execute better work on a larger scope, which ultimately strengthens the local production community.” Deluxe Atlanta’s 35-person and growing outpost handles the bulk of projects in-house, working closely with the thriving advertising and film industries. Recent credits include commercials for AT&T, Toyota and Holiday Inn, the BET TV series Being Mary Jane, and feature films Selma and Goosebumps.



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TV’s one-hour drama Finding Carter centers on a girl, played by Kathryn Prescott, who was abducted at age three and as a teenager is reunited with a birth family whom she doesn’t know. Finding Carter is shot in Atlanta, while most post-production work is done in Los Angeles. The editorial team is set up in offices provided by Chainsaw, Hollywood, a SIM Group company, which also handles color grading, editorial finishing and deliverables. Another SIM Group company, Bling Digital, serves as intermediary between production in Atlanta and West Coast post. Each production day, Bling receives camera media from the set, prepares dailies, editorial, finishing and backup media, and sends elements across the country. Editorial media is delivered overnight via a high speed internet connection. “When the editors arrive in the morning, dailies from the previous day’s shoot are ready and waiting,” says Ashley Glazier, associate producer for POP Films, which produces the show for MTV. “We are able to get started much faster than most shows. Bling makes it all seamless.” “Now that we have the opportunity to provide both dailies, through Bling, and finishing, through Chainsaw, as part of one company, it’s

incredibly efficient ,” says Bling digital post production manager Brennen Dicker. “It makes communication much easier. We were able to work out potential obstacles in advance and the result is a workflow that is very smooth. We’ve got their backs and they’ve got ours.” As an aid to cross-country collaboration, Chainsaw has set up a Streambox video transport system in the show’s editorial offices. It allows the editing team to share video content in realtime with production staff. Producers in Atlanta can work with editors in Hollywood almost as though they are in the same room. Finishing editor Mark Needham begins assembling a high resolution version of the show, while colorist Kris Santa Cruz begins color grading with the original camera media. The beauty of the system is that both are able to work with the same sequence simultaneously. The flexibility of a clip based color workflow in Baselight allows a seamless integration to online in the Avid. Once the final color grade is applied, the show returns to Needham who adds visual effects (provided by an external VFX house) and titles to create the final master and other deliverable elements.



egis tr ation is open for the Atlant a Celebrates Photography 2015 Portfolio Review. The ACP Portfolio Review and Walk at the Georgia Tech Hotel & Conference Center offers photographers the rare opportunity to meet one-on-one with highly respected curators, dealers, editors, and agency representatives from the United States and beyond. The Portfolio Walk (following the review sessions) gives Review participants the opportunity to present their



work to the general public at a filled-to-the brim, casual, evening reception, open to all. ACP ’s small por t folio review event is a boutique experience, offering a highquality environment for both reviewers and photographers. Each photographer gets a minimum of five twenty-minute reviews as well as opportunities to meet with Roving VIP Reviewers throughout the day. There is a secure, dedicated space for photographers to rest and mingle

While television shows are often fully conformed and approved before grading, this workflow saves time and allows Finding Carter’s producers to conduct their review with final color in place. “We eliminate the intermediate review step,” Needham explains. “The producers see the final product after it’s gone through Kris’s hands and my hands. They like this workflow because it’s so efficient.” Post work is also aided by the close proximity of editorial, grading and finishing. “If I’m working on the color and need Ashley or an editor to look at something, they are always close by,” says Santa Cruz. “Sometimes, they’re just across the hall.” Given the tight deadlines that are an inevitable part of television post-production, the benefits of saving a few steps shouldn’t be underestimated. “We don’t often make last minute changes, but when we do, it’s extremely helpful to have everything under one roof,” notes Glazier. “I feel very comfortable with the workflow we’ve set up. It’s a great process.”

The ACP Portfolio Review at the Georgia Tech Hotel & Conference Center.

between reviews, plus, food and beverage service throughout the day. In addition, ACP is offering two workshops; one before the reviews with Aline Smithson, “Preparing for Portfolio Reviews,” and one after the reviews with David Bram & Jennifer Schwartz “Taking Advice to the Next Level: What to do After your Portfolio Review.”






Ms. Audrey Thomas, CEO Kingdomwood P.O Box 1798 Lithonia, GA 30058 Dear Audrey, It gives me great pleasure to welcome the 2015 Kingdomwood Christian Film Festival for its 8th year in Georgia! As Lt. Governor, I encourage opportunities that not only enhance the strength of our state’s film industry but also support the production of faith-based films in Georgia. Our state has seen great success from the film industry with an annual economic impact of more than $6 billion. We are the fastest-growing entrainment production center in the world, and as Lt. Governor I am committed to providing support and resources for this new economic engine. I strongly encourage participants of this festival to take full advantage of the resources it has to offer. I am excited about Georgia’s place in the film industry but I know that we are only getting started, and look forward to the road that lies ahead with great enthusiasm. ACTION!


Casey Cagle Lieutenant Governor of Georgia

Light up the Kingdom Sky and experience Kingdomwood’s four nights of Red Carpet Screenings and celebrate the world of Faithbased Filmmaking!

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- Distribution Panel - Music in Film Panel - Audio Post Production Workshop - Micro-budget Movie Workshop - Youth Screening & Q&A - Worship & Praising - Buckhead Bus Crawl Tour - Film Screenings - Celebrity Panel - Keynote Speaker - Red Carpet Ceremonies - Late Night Screening




Ear to ear would describe the grins on the participants of LeeKendrick’s Young Lenses participants.



eeKendrick, an Atlanta area independent film producer hosted the Young Lenses Red Carpet & Screening event at the High Museum of Arts in September. The event is to celebrate and acknowledge young filmmakers after the completion of their first short film and the Young Lenses Youth Film Camp. LeeKendrick created this outreach program to bring about positive connectedness and full self-expression in children and to create a

platform where Atlanta area filmmakers can be of service to their communities and instill their values into the next generation of filmmakers. “As a filmmaker I not only want to use my creativity to entertain but as well to instill and inspire positive change in our society.” Young Lenses is a community outreach program that teaches a diverse group of children from various socioeconomic backgrounds and ethnic groups. Atlanta area filmmakers teach

and lead basic filmmaking skills. This year’s camp was hosted by the Boys and Girls Club Fuqua Center located in the heart of downtown Atlanta. The camp provided training in film production, acting, directing, camera operation and editing for 12 participants ranging in ages of 8-12 years old. The High Museum of Arts has been in full support of Young Lenses and welcomed this inaugural Red Carpet screening event at their prestigious Walter C. Hill Auditorium.

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Host Ian Gregg memorized a lot about water.



alter Biscardi, Jr. and Biscardi Creative Media (BCM) teamed with the Gwinnett County Department of Water Resources (DWR) on a project almost a year in the making. The idea was to present water science in a fun way for Gwinnett County elementary schools. The idea for a “Bill Nye” type show came from the DWR and from Biscardi being a former crew member of Good Eats with Alton Brown (itself inspired partially by Bill Nye). The project required over 120 principal scenes to be shot in just five days with a very young crew. As part of the educational aspect of the project, BCM brought on four production

assistants from Lanier High School, which has partnered with BCM on past projects. They ended up wrapping early on three of the five days, with a lot of credit going to host Ian Gregg and his memorization skills with the scripts. This was BCM’s first time working with the Sony A7s, and its low light capabilities were put to the test in a fog scene. Overall, the camera performed beautifully in the hands of talented DP Cheryl Collins. The Pine Isle section of Lanier Islands Resort provided the perfect vantage point for filming at Lake Lanier. Biscardi and the crew also built all of the props and rigs used in the videos, deciding to

Walter Biscardi, Jr. storyboarding his first book trailer for Juror 11.

build a lot of practical elements for the shots instead of creating everything in post via VFX or animation. Biscardi, also recently directed his first book trailer for first-time author, Terry Rathmann. Juror 11 is based on Rathmann’s actual experience as foreman of a jury, and he approached BCM about creating an effective trailer for the book working within a limited budget. The BCM team worked with Rathmann to create the script and storyboard the shoot. R. John Becker provided the editorial.




Master Shake (Dana Snyder) attempts to get his driver’s license at the DMV in a scene from the final season of Aqua Teen Hunger Force Forever.



n December 30, 2001, the world got the first taste of Adult Swim at 5:00 am when an unannounced pilot for Aqua Teen Hunger Force aired. Fifteen years later the series that started it all came to an end under a sixth and most ironic moniker, Aqua Teen Hunger Force Forever. In part to commemorate the final season, and in part to hype their latest live-action creation, Your Pretty Face is Going to Hell, Adult Swim invited press to visit their offices in Atlanta for a day of fun and surprises. The day began at the Williams Street Productions office with an interview of the Aqua Teen Hunger Force creators, Dave Willis and Matt Maiellaro. “They want three things when you make a show: good quality, low cost and quick turnaround. You can usually only have two. We’ve always been cheap and good, but not always fast,” said Willis. “The one rule we always had was not to do anything sacrilegious.” Which made for an interesting segue to Willis’ latest creation with Casper Kelly, Your Pretty Face Is Going To Hell. The show stars Henry Zebrowski as Gary, a cubicle worker in Hell whose job is to acquire souls for his boss, Satan. The rest of the day was spent on a Your Pretty Face bus tour through Atlanta with Benji, the demon who star’s in Hell’s training videos,

played by Dan Triandiflou. Willis and Kelly, the show’s creators, rode along as the tour first stopped at the Briarcliff Mansion. The former Coca-Cola heir residence is used regularly in Atlanta productions for it’s looming appearance. The mansion was accompanied that day by the psychotic murderer from Adult Swim’s sitcom intro spoof, Too Many Cooks. Holding a brown paper bag in one hand and fake machete in the other, William Tokarsky entered the bus without a word and took a seat in the back. The final stop on the tour was Silver Scream FX Lab, home of the show’s art director Shane Morton and costume designer Chris Brown. Inside the lab, Morton and a slew of artists showed off props from Your Pretty Face Is Going To Hell, including computers that look to be wrapped in human skin, a bloody cat puppet from the Cooks spoof and the hairy leg of a giant spider. Morton was especially excited for visitors to walk though a 3D hallway that he created with fluorescent paints and black lights, and came to life with a pair of 3D glasses. Before leaving, the press was invited to roam the rest of the workshop and meet the artists residing there. The walls were covered in years of creative endeavors, most looked like they belonged in horror movies, but when put into the context of Morton describing how

Gary (Henry Zebrowski) gets Krampus (Dave Willis) out of a bit of trouble with the police in season two of Your Pretty Face Is Going To Hell.

he meticulously created burnt fingers, nothing seemed too horrifying that day. Finally, the group was herded back onto the bus and back to Williams Street, where the cherry on top of an already fantastic day was a tour of the Adult Swim offices. The walls were covered in art, props and marketing materials that catalog the years of success the programming block has found. Every few feet is another excuse to take a picture with a piece of history. The coup de grace was getting to see Dave Willis sit down on a couch in an editor’s room as new episodes of Aqua Teen and Your Pretty Face were being edited. The final episode of Aqua Teen Hunger Force Forever, “The Last One Forever and Ever (For Real This Time) (We ... Mean It),” aired Sunday, August 23, 2015. The second season of Your Pretty Face is Going to Hell ended August 30. Both seasons are streaming at adultswim. com.



On the set with Atlanta DIT and video assist company Nebtek.



ebtek Inc., a professional video assist and digital cinema services company has expanded to accommodate the growth of the motion picture and broadcast industry in Georgia. The new office located in Decatur, Ga will provide capacity for local HD video assist services and rentals of high-end HD wireless transmitters, as well as video assist systems and other support gear for digital cinema production. CEO and founder, Gaylen Nebeker says, “I am pleased to be able to offer first-rate video assist

packages, DIT and HD wireless services locally.” Production companies can access high quality equipment from Georgia that will comply with the regulations for film tax incentives. DPs can bring their vision to post with live color grading along with the Qtake Monitor to give onset real time iPad monitoring for directors, script and VFX supervisors, as well as secure remote access to video assist footage and dailies for studio executives using Qtake Server.





Chef Marvin Woods has opened a new Atlanta restaurant, Asante.



elebrity Chef Marvin Woods takes Atlanta by storm with his new concept of “coastal soul cuisine.” With the opening of his newest restaurant, Asante, he introduces the world to inspiring flavors, techniques and culture as a tribute to the culinary salute to the African diaspora. Chef Woods has created the restaurant of his dreams. After 30 years of perfecting the coastal soul concept, Asante is just one more accomplishment

to add to Chef Woods’ extensive list. From the years 2002–2006, Chef Woods ran four successful seasons of his hit show, Home Plate. The Emmy-nominated television show averaged seven million viewers per night, but the end of Home Plate did not mark the end of Chef Woods’ TV career. He currently makes guest appearances on hit TV shows including TV One’s My Momma Throws Down and Food Network’s Guy’s Grocery Games. Beyond the lights,

camera, and action, Woods has also contributed his time to the White House as lead chef in the First Lady’s Let’s Move campaign. As a new restaurant, Asante is already thriving not only as a restaurant, but also as a new Atlanta hotspot. The refined atmosphere also makes it a prime location for the film industry as well. Television shows from popular networks such as OWN, Bravo and VH1 all pursue it as a filming spot.

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OZCETERA Ground Floor Video, on set with one of the “locals” for his award-winning documentary, The Border States of America.



he Telly Awards has named Ground Floor Video as a Bronze winner in the 36th Annual Telly Awards for their documentary titled The Border States of America. With nearly 12,000 entries from all 50 states and numerous countries, this is truly an honor. The Border States of America, a documentary film commissioned by Tea Party Patriots Inc., takes viewers from the Rio Grande Valley to towns across the country, telling the story of human smugglers and drug cartels who profit from Washington’s refusal to enforce immigration laws. Thousands of people are illegally entering the US putting citizens lives at risk and taking a dangerous economic toll on our communities. Border States cuts through the fog by following local sheriffs and Border Patrol agents as they come into contact with gang members, human trafficking participants and residents victimized by this crisis. Hosted by international television and film star, Nick Searcy, the film exposes the ugly underbelly of life and death along the Mexican border.



tilwell Casting, a division of Smith & Stilwell, Inc., is celebrating 35 years of casting in Atlanta and the Southeast with a new logo. Owner Annette Stilwell created the original Stilwell Casting logo in 1980. Stilwell now shares the company with daughters Annie Stilwell Burch & Erin Stilwell Buda. Stilwell Casting is well known across the countr y for finding the best talent Atlanta has to offer as well as its “real people” casting in Atlanta and other locales, including recently in Miami, Savannah, San Francisco and Detroit. Brian Beegle has made a name for himself as a prominent casting director Stilwell Casting: Celebrating 35 years and a new logo. in the region, taking over the helm from Melissa McBride several years ago. Stilwell and daughters are proud of Stilwell Casting’s growth with the increased filming demand Atlanta has seen in recent years. In addition to casting, the Stilwell crew also runs payroll for any production, including cast, crew and photographers.



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A gaggle of Georgia A/V and film teachers under the tutelage of EUE/Screen Gems’ Kris Bagwell.



t was a great day for our statewide educators as they were hosted by Kris Bagwell, executive vice-president of EUE/Screen Gems Studios in Atlanta for a day on the set. About 40 audio/ video technology and film teachers from

throughout Georgia were treated to a tour of the historic location and thriving film studio in southwest Atlanta. Bagwell gave the group an inside look at the soundstage for the TV show Satisfaction, airing on the USA Network. He

checked off quite an impressive list of major film productions that have used the facility during their stay in Atlanta . . . quite impressive. Tim McCabe, co-president of GPP, acted as liaison for the Georgia Department of Education.



Savannah-area grip and electric veteran Robert DuVall joins FONU2’s Moon River Studios as VP of equipment rental.

ONU2, Inc. has added Robert DuVall to the Moon River Studios roster as vice president of equipment rental. DuVall’s career spans 25 years in the technical and sales side of the entertainment industry. DuVall was previously the owner of Savannah Grip & Electric and director of audio visuals at the Savannah International Trade & Convention Center. His expertise is in providing rental equipment, supplies and crews, as well as consulting for live corporate events, commercials, music videos, television series and feature films. DuVall attended Savannah College of Art and Design for video and is a member of IATSE Local 491 Studio Mechanics of the Carolinas and Savannah, GA. “I’ve acquired many customers through Savannah Grip & Electric, and I continue

to take on new clients referred by my existing client base in the film industry,” says DuVall. “I look forward to funneling this existing stream of revenue to Moon River Studios, and I am excited to offer Savannah a professional rental facility with a strong customer focus.” FON U2 is a film s tudio and social commerce company that is actively developing a 1,560 acre film studio complex in Effingham County, Georgia. The studio operates under the name Moon River Studios, Inc., inspired by Savannah musician Johnny Mercer’s song Moon River from Breakfast at Tiffany’s. The facilities and the equipment will be available for rental to production companies as well as utilized by the company for its own films.



Theo Tyson has left Bloomingdale’s Studio Services and rejoined trinity productions. Photo courtesy of Drexina Nelson.



eginning with Rainforest Films, trinity productions has been providing experiential event production services to a discerning clientele for over 10 years under the guidance of Theo Tyson. When one of her clients, Bloomingdale’s, offered her the opportunity to launch their studio services department exclusively for wardrobe professionals in the film and television industry, she accepted, stepping from behind the scenes and away from her company. Yet with the tandem growth of the fashion and entertainment industry and the success of the studio services under her guidance, the demand for Tyson’s expertise in event production also grew, requiring her to take the helm of trinity productions once again. She will now continue to create innovative experiences with fashion shows, product

launches, galas, wrap parties, film festivals and art exhibitions for clients like Dior, Hennessy, The Creatives Project and Alliance Française d’Atlanta, as well as offer consulting. “I watch movies and sometimes cringe at the party scenes wondering ‘why is the bar next to the bathroom’ or something similar,” she says, laughing. “But, seriously, I’d love to work alongside the directors, costumers, set decorators and other crew to help them create realistic on-camera experiences moviegoers can feel. Then they can just focus on framing the perfect shot versus valet and proper floral placements.” One of her newest clients that will benefit is her own company, Phoenix & Lotus French Parfums, a luxury line of androgynous fragrances.


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P has greenlit its first-ever dance docuseries pilot, Dancin’ the Dream. The series will follow eight diverse, highly talented, young aspiring stars as they go through grueling dance classes to perfect their craft, and reveal the sweat, desire and emotion that goes into their intense training, along with its impact on relationships with family, friends and each other. Production is currently underway in Atlanta, “hip-hop’s center of gravity,” according to The New York Times, on two half-hour pilots produced by Crazy Legs Productions. Crazy Legs is also the production force behind the new hit series The Prancing Elites Project and Dance Crash. The debut episodes of Dancin’ the Dream, which feature pop sensation singer/songwriter Leona Lewis’ hit

single Fire Under My Feet and singer/YouTube sensation Jade Novah’s upcoming single Blood, Sweat & Tears, are slated to premiere on UP this Fall. Executive producers are Tom Capello, Keely Walker Muse, Tara Burtchaell and Alana Goldstein. “For anyone who has ever wondered how top performers like Bruno Mars and Christina Aguilera got to where they are today, this series will help answer that question through a new generation of immensely talented, hopeful stars,” said Amy Winter, EVP and general manager at UP. The show follows eight of the hottest young dancers, ranging in age from 9 to 15, as they train in every genre imaginable with top hiphop dancer and choreographer, Kiki Ely, at her


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Atlanta-based studio, ATL Takeova. She and her assistant, BeeJay Harris, a professional dancer for 12 years, offer the kids master dance classes and prep them for a variety of entertainment auditions and professional engagements, ranging from film and TV to music videos and concert tours in Atlanta. Ely started her career as a young dancer in Atlanta and has since toured the world with some of the top names in the music industry, including Christina Aguilera, Ciara, Christina Milian, Brooke Valentine and others. A former choreographer and member of the Atlanta Hawks Dance Team, Ely has also choreographed for countless music videos and films, including Drumline, starring Nick Cannon, Zoe Saldana and Orlando Bloom.

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Rhett Turner’s Secrets of the Longleaf Pine debuts on Georgia Public Broadcasting.



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he Emmy Award -winning produc tion team of Chattahoochee Unplugged, Red Sky Productions, presents Secrets of the Longleaf Pine, a new documentary about one of the most biodiverse locations in the Northern Hemisphere: the forest of the Longleaf Pine. Secrets transports the viewer into the coastal plain of the Southeastern United States and shows how this incredible place continues to thrive. Viewers will also see the ways in which conservationists work to restore this incredible biologically diverse ecosystem and help animal species such as the gopher tortoise, eastern indigo snake, and redcockaded woodpecker survive and thrive in this incredible habitat. Secrets of the Longleaf Pine debuts on Georgia Public Broadcasting in October.



rick Wofford has the one and only David Schow involved with his new film project, SPLATTERPUNK! The film is an action horror anthology film made in cooperation with Schow (screenwriter/author of The Crow, Texas Chainsaw Massacre 3, and Texas Chainsaw Massacre The Beginning). The project also has the world-renowned pulp art illustrator Vincent Di Fate doing the movie poster. Investor perks offered: custom cannibal masks, movie props, walk on roles, scripts and much more. The film features Schow’s Blue Amber and several stories from Wofford, all separate but existing in the same fictional world, similar in respects to Richard Linklater’s Slacker where certain characters meet and interact with charac ters from separate storylines. Also contributing are award-winning SFX professionals and a wellseasoned, Atlanta-based film crew.

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Fun on the set of Seed Factory’s commercial work for Navicent Health.



avicent Health, which is one of the largest employers in Macon, Ga and the second largest hospital in Georgia, filmed a TV commercial with Atlanta-based Seed Factory Marketing. Shot on location in the Cabbage Town area of Atlanta and on a private campus in Duluth, Ga it featured more than a dozen of Atlanta’s finest actors. The TV commercial, and entire campaign, focus on the idea that simple acts of kindness can make people feel better. Seed Factory and

Navicent Health made the decision to avoid focusing on their cutting edge technology or world-class doctors, but instead to focus on the emotion of human connections. “Focusing on kindness allowed us to create a commercial that connects with the audience in an emotional way,” said Mark Sorensen of Seed Factory. Creative director Rick Ender added, “We were able to focus on genuine human moments, captured in an authentic yet cinematic way.”

The crew was mostly Georgia-based, but featured line producer Matt Ackerman, who recently moved from Atlanta to L.A., and Randy Arnold, who keeps a home in Atlanta and L.A. was director of photography. The spot is driven by a powerful music track called Nothing More by the group Alternate Routes. The music was licensed for use in the spot and creates the mood and tempo that is uplifting and inspirational.



INEVERSE Atlanta is now open for business. The 18,500 sq. ft. facility is located in the heart of Georgia’s Midtown Atlanta production community, minutes away from downtown, most stages and popular production locations. CINEVERSE Atlanta is one of the most stateof-the-art camera rental facilities in the country boasting an impressive collection of cuttingedge camera and optics engineering evaluation equipment, along with an accomplished team of technicians. The Atlanta location features: a large prep floor (40’ x 50’); two feature prep suites (28’ x 40’); hair & make-up test insert studio; optical test/evaluation room; machine shop/workshop; and ac cart storage.



Motion picture and TV camera veterans Mindy Bee, Terrence Shiffer and Mike Sippel are the center of the universe for CINEVERSE Atlanta.

The Atlanta of fice is led by veteran marketing manager Mindy Bee who has a career history of working with the personal side of production. She is supported by a top staff with many years of experience in the motion picture camera rental industry as well as working with production on solutions and budgets.

The facility also includes a Content Driven LED Lighting showroom. This system is on the forefront of new technology in the lighting and green screen world, having been used in such films as Furious 7.




anavision, one of the entertainment industry’s most respected designer, manufacturer and provider of stateof-the-art cinema lenses and high-precision camera systems, has recapitalized the company. With the recapitalization, Panavision’s senior lenders unanimously agreed to convert a majority of the company’s long-term debt into common stock of the company. This major reduction in Panavision’s debt enhances its capital structure and enables the company to explore growth opportunities. “This transaction is very positive news for the company and gives Panavision more fiscal flexibility for the future,” said Panavision CEO and president Kim Snyder. “We now have a very healthy balance sheet, allowing us to accelerate our investment in equipment, technology and resources and further focus our efforts on meeting the needs and expectations of our customers.” Panavision has recently extended its industry reach into the post production realm with the acquisition of Light Iron, a leader in digital workflow solutions. The recapitalization was a private transaction that was formally completed in June. Panavision’s major shareholders have not changed, and the company’s Board of Directors and executive leadership team led by Snyder remain committed to the long term growth and success of the company.

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A rendering of Keslow Camera’s new Atlanta facility.



eslow Camera, a camera equipment provider for motion picture, television and commercial productions worldwide, has expanded operations to the Midtown Atlanta area. “Keslow Camera was, from the start, built to make our customers’ needs our number one priority,” said company founder and CEO Robert Keslow. “With this expansion to Atlanta, we’re bringing the same high level service our

clients have grown accustomed to.” Keslow Camera’s Atlanta workplace was designed with architects from Abramson Teiger Architects, the same creative team that planned the company’s innovative Los Angeles headquarters. The 8,200 sq. ft. facility, housing skilled technicians from Atlanta’s strong talent pool, will provide various prep bays including a private test room and a fully equipped service

department. The Midtown area location was largely chosen for its many amenities and a convenient 20-minute proximity to HartsfieldJackson Atlanta International Airport. Keslow Camera also operates in Los Angeles, Chicago, New Mexico, Miami and New Orleans.

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Confessions of Angry Wives co-stars Crystal Garrett and Karenlie Riddering perking up their ears on set.



tlanta-based production company, Two Fish Productions, has released the web series, Confessions of Angry Wives. The comedic series presents hosts Le’Quieshionda Shanail Bucks (Crystal Garrett) and Lorena Fernanda García Moreno (Karenlie Riddering) in the “#1 shortest international talk show” discussing confessions from angry wives around the world, submitted online or via their traveling confessional booth. The hosts appeal to the audience with their oversized ears and clever phrase “We ear you,” claiming they “listen to angry wives because

husbands don’t.” They also include “Happy Moment,” a segment in which they celebrate good things husbands have done for their wives. “We know there are many angry wives out there with funny, sad, upsetting, ridiculous, and even tragic stories,” said the pair. “We wanted to create a place where they could share their stories without feeling judged or simply release some of their anger through the hilarious advice the hosts provide.” They invite viewers to submit their own stories through their website and social media pages. “Our desire is to provoke

thoughtful conversations, and at the same time entertain and inspire women experiencing anger in their relationships.” Confessions of Angry Wives was shot in Atlanta and features some of the city’s top actors. The first episode was released in August, and 15 subsequent episodes will be released weekly on Thursdays via their Angry Wives YouTube channel and the series’ website. Episodes range between 5-10 minutes. The series was created and produced by Garrett and Riddering.



ath-Tec, a leader in specimen management technology, selected Arketi Group to complete a brand identity refresh and new website. This involved an updated logo and complete redesign of Path-Tec’s collateral strategy, including corporate and product brochures, email templates and trade show materials. With the new branding in place, Arketi then created a web presence for Path-Tec that elevated its brand and provided a better user experience for customers. Arketi also created a new website for Zotec Partners, an industry leader in specialized

medical billing and practice management services for the hospital-based specialty market. The site, which launched earlier this month, delivers a personalized customer experience for each audience based on the medical industry specialty they select. Arketi helped Zotec enhance its focus on user experience, while making industry information easily accessible to doctors and patients. The new website delivers an optimum visitor experience by showcasing all five of Zotec’s specialties in a single site, and prompting

visitors to self-select their primary specialty of interest. Arketi also earned five 2015 Hermes Creative Awards for exceptional work in design, branding and web development for Aderant, Brightree, Cohesive Solutions, Cox Business and iText. Arketi earned awards in the following five categories: Platinum award for Aderant’s search marketing; Gold award for Brightree’s NaturalRev microsite; Gold award for Cohesive Solutions’ new Business-to-Business website; Gold award for Cox Business’ infographic; and Gold award for iText’s new logo.

Co-founder and Photographer Caroline Fontenot with Jed (Ausiedoodle, 2) at home in Talking Rock, Georgia.



new “pet project” and dog blog from writer/editor Jess Graves and photographer Caroline Fontenot, Southerners & Their Dogs is a new website and integral feed featuring interes ting Souther ner s (chef s, writer s, musicians, makers, creatives, etc.) and their canine companions. The site features beautiful portraits by Fontenot with anecdotes (some short, some long, some serious and some silly) written and edited by Graves, who also designed the site. Southerners & Their Dogs is an ongoing 34


collaboration between the two, and will be continually updated with new dogs weekly. In addition to her work with Southerners & Their Dogs, Graves is a freelance writer and Atlanta resident whose bylines include Southern Living, Town & Country, Eater, Garden & Gun, and Atlanta Magazine, where she pens a monthly style column based on her ten year old lifestyle website, The Love List. Southern Living named her one of the “75 Most Stylish Southerners” and one of “2015’s Bloggers to Watch.”

Fontenot is a lifestyle photographer whose work has been featured in Town & Country, Southern Living, and Atlanta Magazine, in addition to brand work with clients like Huckberry and Hudson Sutler. On her blog, Back Down South, she documents good looks and good drinks. Southern Living named her and her husband, Mark, two of 2015’s “Best Dressed Southerners.”


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HOW I GOT INTO THE BUSINESS How did you get into the business? In 2011, one of the big movie studios was filming in Atlanta when they received an unannounced OSHA visit on set. That inspection resulted in multiple citations and accompanying fines for safety violations that OSHA observed. It quickly became clear to the studio that having a local production safety expert could have prevented the citations. Additionally, if in the future the same types of issues were observed it could possibly make them available for criminal prosecution. So having someone nearby for dropin inspections, supervision of high risk events, and interaction with regulators was an imperative piece of their risk management and their commitment to the safety of the cast and crew on their productions.


Do you have a word or quote or mantra you live by? In the movie industry, we are purposely putting people in seemingly dangerous situations for a scene. So the true worth of a production safety consultant like myself is in their ability to anticipate potential safety issues and form solutions which prevent accidents,

Environmental Resources Management (ERM) www.ERM.com

How did you get into the business? I’ve been making movies since I was a kid and always knew that’s where I wanted to end up. After college I moved to Atlanta and sought out the indie film scene here. After a few years of making shorts and working on other people’s shorts, I’d developed enough of a network to both get into IATSE and crew up my first feature. It’s taken a lot of hard work and patience, but has been well worth it.


What’s the best advice you can offer to young people in your profession? SET DECORATION Don’t expect to get paid when you start out. Working GANG BOSS hard for free shows people that this is as much a Founder of New Puppet Order passion as a paycheck. Don’t expect to get easy cushy jobs, and if you happen to get one, don’t milk it. Finish facebook.com/ it and find some other way to contribute. Don’t expect newpuppetorder to be coddled or have every little thing spelled out for newpuppetorderfilms you. Don’t call your boss for a phone number that you @gmail.com

How did you get into the business? I got into the business in 1988 when TV movies were in their primetime in Atlanta. I was lucky enough to have someone introduce me into the business at a time when there were very few film people in Atlanta. With some teaching from all of the guys around me I was tearing equipment apart and repairing it, being the lowest guy on the totem pole. It was so busy here that I learned very quick what all of the equipment was and how it was used. It was more of a personal film family here because we all knew each other from working together all of the time. I guess I would consider myself one of the old guys now because the group I came up with have all gone our own ways and all of us are running crews now. We’ve all been blessed.



What’s the most difficult part of running your own crew? The most difficult part of running a crew would be getting the right guys together for the job. My job as


injuries or any type of material loss. Once a health and safety concern has been discovered, forming the best solution quickly is ideal so the production stays on schedule. So my mantra is, “Anticipate. Evaluate. Control.” What would you change about the movie industry here in Georgia? In California, they have fire safety officer training for film for all firefighters who work in Culver City, Los Angeles, and the Manhattan Beach area so they can familiarize themselves with what they may encounter on a movie set. Then if they get called in, they have the ability to protect themselves as well as anybody else. It would be especially helpful if they had that training here in Georgia and in other places where film production is really skyrocketing because the firefighters have a limited idea of what to look for on set. What projects have you worked on recently? Devious Maids, Quantico (pilot), Kingsmaker (pilot)

can find on a crew list. Don’t ask something that you can Google. If you have a problem, present it to your superior with your idea for a solution. If you had it to do all over again... I would’ve worked harder in college to graduate with a reel and a festival worthy film or a screenplay to shop. Ahh... misspent youth. What projects have you worked on recently? I recently premiered my first feature film, Good Grief Suicide Hotline, and I’m currently wrapping up a studio picture starring Tom Cruise called Mena. I’m also in preproduction on a pair of new films, a puppet short tentatively titled The Woods that’s being produced by Ibex Puppetry for their Handmade Puppet Dreams program and a horror comedy called Don’t Drink the Juice.

a Best Boy is dealing with crew and equipment. We are talking about putting multiple personalities together, working side by side everyday for many hours a day and many weeks at a time. We have to work as a team. What’s the best advice you can offer to young people in your profession? My advice to the new guys would be, listen to the experienced and not pretend to know everything already. It’s ok not to know the answer every time, we all had to learn something from someone. What projects have you worked on recently? Furious 7, Bessie, The 5th Wave, Alvin and the Chipmunks: The Road Chip, and The Founder



How did you get into the business? I spent my high school years heavily focused on my school and community’s theater programs, focusing on the technical aspects of live theater, mostly lights and sound. Because of my interests, I decided to go to college for technical theater specializing in technical directing at Young Harris College. The summer after my freshman year I got an opportunity to learn the ropes in the sound department on a film, Not Since You, through a family friend, sound mixer Jim Hawkins. My first movie was shot on film, and this is where I fell in love with the filmmaking process. At the end of my second year at Young Harris I got an opportunity to work on Somebodies, BET’s first original series. I didn’t set out at the beginning of my sound path to be in film, but once I started I found a niche that fulfilled me more than theater ever did. How has sound equipment changed since you’ve begun and how do you keep up? In my experience, the sound equipment changes with




COSTUME SUPERVISOR Nadiri Creative Media, LLC. www.nadiricreativemedia.com

How did you get into the business? I was a full-time blacksmith but was feeling burnt out, so my partner, Caryn, who already worked in production, suggested I should try a few PA gigs believing I’d be great in the art department. She recommended me to a coordinator who took a chance and hired me on a few commercials. I spent a few years working under the great art department coordinator, Cedar Valentine, and she helped me to figure out what I wanted to do, let me learn and get experience, and got me my first non-PA gig. I’m definitely a ‘turtle on a fence post’ - I didn’t get here by myself! What’s the best advice you can offer to young people in your profession? Be prepared to care about taking out the trash and getting lunch and coffee. Nobody cares how many student films you made in school when their lunch order is wrong. Learn from the people you’re working for, even if you don’t like them; hard work is

the sound mixer, not necessarily with the technological advances. There are some sound mixers who are completely up do to date with current technology, and some that are still using microphones from 1971. I keep up by being on sound forums and putting my mind toward learning every piece of new technology I encounter on set. Who have been your role models and mentors on your path? Lisa Pinero, Mark Weingarten, and Willie Burton all illustrated that a crew member does not need to be loud and aggressive to get what they need. The art of capturing good sound is to be present in the moment and communicative with your director, and each of these people really exemplified that. What projects have you worked on recently? Rings, Selma, Project Almanac

always rewarded in some way. And PA for at least a year, if not two or three before moving up--because you’re actually not ready even if you have a film degree. Nothing is more valuable than hands-on experience in this business. Do you have a word, quote or mantra you live by? “The more one does, the more one can do.” Amelia Earhart. What makes your job cool or fun for you? My current project is very cool- and very unusual! Eating lunch with zombies took some getting used to, but I’m lucky to have done it for several years now! I get to work closely with an extremely talented team and help develop one of the most-watched TV shows. What projects have you worked on recently? The Walking Dead, Halt and Catch Fire, Resurrection (Pilot)

How did you get into the business? After graduating from Howard University I worked as a page at CBS for one year. From there I was hired as a production assistant at Classic Sports Network which became ESPN Classic. I knew next to no one when I moved here to Atlanta. I became friends with a guy who does props and he thought with my hustle and production experience, I’d be good in movies. He walked me into a production office to drop off my resume. The costume supervisor just happened to come out looking for a PA while I was there. She looked at my resume, talked with me for a few minutes and hired me on the spot. The rest is history.

Who have been your role models on your career path? Carol Sadler, my first costume supervisor. She was so thorough. I still marvel at how she was able to be everywhere and do everything at once and never seem to lose her cool. Danielle Baker, she taught me how to track money on a show (so important!). Drew Fuller, who taught me how not to take myself or this job too seriously - we’re not curing cancer!

What’s the best advice you can offer to young people in your profession? Our work is the very definition of teamwork, your team needs you to do your best work every day. Most importantly, respect your peers - you never know, that PA or that extra today could very well be the producer or star tomorrow - and besides, it’s good karma to be kind to others!

What projects have you worked on recently? The Game, Barbershop 3, Zoe Ever After

If you had it to do all over again... I would have started writing/producing my own indie film/tv productions earlier.






Pinch Yourself By Christine Bunish

The Life and Times of Working Actress and Dalton, Georgia Native, Lori Beth Sikes


ori Beth Sikes spent her childhood in Dalton, Georgia singing and dancing and “playing make believe with one very fun momma.” But even her best make believe stories couldn’t envision a grownup Lori Beth working with directors Robert Altman and Robert Redford, acting alongside Sissy Spacek, Robert Duvall and James McAvoy, and scoring regular roles in the broadcast and cable series Resurrection and Army Wives. All while continuing to reside in small-town Georgia. “When Resurrection debuted, I had to pinch myself: I was on ABC television right now!” Sikes exclaims. “I had the chance to do what love, live here and have a normal home life – helping with homework, telling bedtime stories

– and driving to work. It’s amazing. The older you get the more you long for this. Without that kind of balance between home and career I would have let the career part go, but now I’m able to do both.” The emergence of Georgia and other southeastern states as production powerhouses has made it possible for Sikes and other actors in the region to build solid film and television careers without pulling up stakes and heading for Hollywood. The multi-talented Sikes is perhaps busier than most: When she’s not shooting a movie, TV show or commercial she’s teaching dance and setting choreography for four dance companies.



Falling in Love with the Spoken Word Sikes has always been confident in front of an audience. At the age of five she was singing in church. She sang and danced everywhere in her hometown and studied out of town in summer. After graduating from Dalton High School she was awarded a summer internship and two-year apprenticeship with the acclaimed Alvin Ailey American Dance Theatre and left for New York City. Although she “always had a desire for Broadway” and there were few opportunities to pursue musical theater in Georgia, Sikes chose to return home after completing her internship. “As an 18-year old from a small town my head and heart weren’t ready for New York,” she says. “I wish I had given it a shot when I was older.” So Sikes enjoyed a regular college experience at Georgia State University instead where she took every acting course available. “With every class I fell more in love with the spoken word,” she recalls. She performed in her first college play in 1995 and the following year she was encouraged to audition for famed director Robert Altman, who was in pre-production for the John Grisham legal thriller, The Gingerbread Man, and looking for southern actors. “I didn’t have a headshot and nothing on my resume except dance and music,” says Sikes. “I begged and pleaded with my parents to go to Savannah to audition. I told Robert Altman this was my first film audition, and he asked what I had been doing. I was honest and open and as country as cornbread, and I got the part. I hadn’t envisioned myself on camera; I was thinking about the stage and music. But the door was flung open, and I ran through it.” Although Sikes only had two scenes in the film as an 18-year old babysitter, Altman invited his “Little Thespian,” as he called her, to be the female reader at the cast table read. Quite an honor for the first time professional actor. “Maybe it was because of my accent – the leads were British actor Kenneth Branagh and Dutch actor Famke Janssen,” Sikes muses. “I was thrown in the pot with them and Oscar-winner Robert Duvall and Tom Berenger. But I felt very comfortable in that setting; no one treated me as anything less than a colleague. And I got a great look at the inner workings of how a production begins. Most actors who are just getting their start are not privy to that.”


I had to pinch myself: I was on ABC television right now!”

I hadn’t envisioned myself on camera; I was thinking about the stage and music. But the door was flung open, and I ran through it.”


Building a Career in the Southeast After that auspicious film debut, Sikes had a break between The Gingerbread Man and her next film, the outrageous 2000 comedy, Road Trip. She earned a B.S. degree in Education from Georgia State University figuring “if the artistic side of my life was not profitable, teaching was always something I could do.” She acted in commercials and sang with the Mudcat Blues Band joining them for a year on the Winston Blues Revival national tour with Taj Mahal. “I had launched a career as a truly working artist; I was getting a paycheck as a singer, an actor and a choreographer. I was doing what I loved. Then came the question: Do I move to LA or do I stay?” Sikes eventually left the band and decided to give pilot season in LA a shot in 2003. “I wanted to see if it was a good fit for me,” she says. “A lot of people built a resume in Georgia then moved – the amount of work here was not nearly what it’s become. To grow as an actor I felt I had to move.” Sikes quickly acquired LA agents for films and commercials and began auditioning. But pilot work didn’t pan out. “I enjoyed Los Angeles except for it being too far away from everyone I loved,” she says. “After six months I made the hard decision to come back home. LA is a town that lives and breathes the business. I was in the business but wanted other things, too – I wanted to be a mom and have a home life.” Although today’s production incentives were not yet in effect in Georgia, Sikes arrived home as incentives in North Carolina and Louisiana lured movies and TV

Lori Beth Sikes at the Resurrection wrap party with star Kurtwood Smith and Georgia-based actor April Billingsley.

to the southeast. “Georgia actors were driving to New Orleans and Wilmington to work,” she says. “It was very exciting for all of us.” Sikes was cast as Latane Brown in the 2004 TV movie, 3: The Dale Earnhardt Story. One of the first films produced for ESPN, the period piece shot in Charlotte. “It was the first time I felt I really got to grow as an actor on camera,” says Sikes. “I had multiple scenes with [Emmy Award-winning actor] Barry Pepper as Dale, and he was so giving. He’d spend time sitting with me talking about how to approach scenes and treating me as an equal. Since I played his first wife it was important for us to feel connected.” Sikes played the sister-in-law of a regular character in Surface, a 2005 NBC sci-fi show, which shot in Wilmington. It was her first network series. She appeared in the 2007 pilot of Lifetime’s Army Wives, which shot in Wilmington and Charleston, returning in season two after giving birth to her daughter, Emery. “When the show was green-lit and they got back to me to appear in season one I was almost six months pregnant so I looked quite different from the pilot,” Sikes laughs. “They kept calling me back every week to check my size. I kept saying, ‘I’m bigger!’ So I didn’t get worked back into the series until season two” in 2008. That same year Sikes was cast in the Hallmark Hall of Fame TV movie, Front of the Class, the real-life story of teacher Brad Cohen, who has Tourette Syndrome. The film shot in Shreveport. “I still hear from students about it; they show it in schools,” says Sikes. “It was very inspirational and dear to my heart.”

I had launched a career as a truly working artist; I was getting a paycheck as a singer, an actor and a choreographer. I was doing what I loved. Then came the question: Do I move to LA or do I stay?” SEPTEMBER / OCTOBER 2015


Ric Reitz and Lori Beth Sikes in a panel talk for Atlanta Goes Hollywood at the History Center’s Members Guild annual spring luncheon.

Star Power The following year she made the independent feature, Get Low, a drama about a Tennessee hermit in the 1930s who throws his own funeral party. The film reunited her with Robert Duvall, who played hermit Felix Bush, and introduced her to Sissy Spacek and Bill Murray. Sikes was the wife of the character played by Lucas Black, who now stars in NCIS: New Orleans. “It’s my favorite film!” declares Sikes. “I spent about a month with the cast and learned so much about the way the actors handled themselves. I saw how Bill Murray was most gracious to hundreds of extras, how Robert Duvall worked day after day to nail his scenes. Sissy made me feel so comfortable and was such a support – we were really the only females throughout the film. And Get Low was the first time I got to experience all the red carpet events – an LA premiere, Sundance, the Toronto Film Festival. It was so exciting!” If Get Low didn’t have enough star power, Robert Redford directed Sikes in the Civil War-era drama, The Conspirator, which shot in Savannah. The Conspirator dealt with the trial of Mary Surratt, the boarding house owner charged and executed for the assassination of Abraham Lincoln. Robin Wright starred as Surratt and Scottish actor James McAvoy as her attorney. Meeting Redford was “the first time I was truly star-struck,” Sikes admits. “When he walked into the room and shook my hand…oh, my gosh! He was so nice and such an actor’s director. It’s great to be directed by someone who talks the way our brains think.” Sikes was instructed to audition with an Old South accent. “I didn’t know the women were Union supporters,” she says. “So Redford said I had to lose the southern accent. The script supervisor asked if I could do that. And I did. A clip of that scene later appeared on the SAG Awards in a segment where Redford talked



about how awesome it is to go to other states and use local actors. I was watching the show and suddenly, that’s me!” That same year Sikes also lost her accent for a guest appearance on an episode of the Lifetime series, Drop Dead Diva, whose production was based in Atlanta. She co-starred with Dean Cain as the parents of a lost two-year old boy in the indie feature The Way Home. The film was based on the real story of how a Georgia town rallied round a family to find their child who had wandered off. Sikes got to meet everyone involved in the incident. “All the real people who had lived the story eight years before were standing behind the camera,” she recalls. Most recently Sikes played a not so likable character in the film White Water for cable’s TV One network. The movie told the story of a seven-year old African American boy in segregated Alabama who longed to drink from the Whites Only water fountain. She also played Janine Hale on the ABC series Resurrection, which shot in Atlanta. “It was a major learning curve for me, so different from the daily routine of a film: You have different directors all the time and don’t know where the character will go from week to week,” she explains. “I’m used to film and seeing the big picture from the beginning of the process.” Her Resurrection character had a wonderful arc. She played the wife of a man whose fiancée was resurrected – surprisingly, pregnant. “Janine handled that in every way possible: She was angry, compassionate, a little obsessed and then straight up crazy,” says Sikes. “I never played a character like her before. And I never had people come up to me in a store and say, ‘I don’t like you.’”

Juggling Act There’s no typical day for the multi-talented Sikes who believes in pursuing all the arenas where she makes a living as an artist. A recent week found her on a call back in Atlanta for an indie film, taping a song to submit for an NCIS: New Orleans audition, preparing for an in-person audition for a major feature shooting in Atlanta, auditioning on tape for HBO’s Vice Principals series, giving private vocal lessons and teaching at the Dance Theatre of Dalton. These days most auditions are on tape, she notes. She has set up space at home to digitally record an audition and upload it for the casting director. But sometimes an actor just has to improvise. A call back that caught her out of town with her family found Sikes’s dad manning an iPad to capture her performance while her husband read the other lines. Once on set some of the best times are to be had in hair and make-up, she reveals. “You get to socialize. You’re not working yet, and it’s always enjoyable. When I did Get Low, Bill Murray was giving Sissy a hard time one day because she hadn’t brought in her guitar yet. She finally did and sang Ode to Billy Joe for us but forgot a verse. So I sang it. Can you imagine? It was one of my best moments.” Sikes says she’s always interested in all the different crafts on set – hair and make-up, set design, wardrobe. “In another life I’d love to do all that,” she muses. Most of her roles have been everyday people so she usually doesn’t have to stay in character to maintain her performance. “If I have an emotional scene coming up I may remove myself a bit to get to that space, to tap into that person. But otherwise I don’t take a ton of time finding that girl. I don’t like to live there. I’m still Lori Beth playing someone else. I have to be present in any of the arts I do. That keeps this girl grounded.” Sikes’s small-town family life also keeps her grounded. She lives near her parents and in-laws with husband Matt Eicholtz, daughter Emery and stepchildren Addison and Parker. “It takes a village, and we have a beautiful little village here,” she says. “It would be harder for me to be in the business if I didn’t have this kind of support.” She’s also grateful that Atlanta – and all of Georgia – is attracting so much production. “The pilots that used to leave are staying; sound stages are going up everywhere. We have more casting directors, talent agents and actors. It’s wonderful that the actors who chose to stick it out here and build the talent pool in the southeast are seeing the fruits of that.” But with more business comes more competition for that business. “The pond has grown but so has the number of fish,” she points out. “Those of us who chose to stay in the market hope we’ll still be a presence in it as it grows. We’re ready to keep this boom going. It’s an exciting time for all of us.” Sikes is represented by People Store, Inc.

It takes a village, and we have a beautiful little village here, it would be harder for me to be in the business if I didn’t have this kind of support.”




Voice Siri of

By: Andrew Duncan

Apple’s intelligent personal assistant Siri may have been a revolution to the smartphone industry when she was first unveiled in 2011, but this was not the first time that Atlanta-based voice actor Susan Bennett’s talents had been used to help people connect with new technology.


n 1974 the First National Bank of Atlanta was rolling out a brand new concept known as an “automatic teller.” To help ease customers into dealing with a machine instead of a person the bank placed an illustration of a friendly blonde girl on the front of each machine, naming the character “Tillie the All-Time Teller” and airing several TV spots to promote her (and thus the new technology). Bennett was the voice that people heard in that jingle, and the campaign was such a hit that other banks bought into the Tillie system and for many years people in Atlanta referred to ATMs as “Tillies.” In the same way that ATMs are now considered to be a normal part of our daily lives, it has become commonplace to see people having conversations (and even arguments) with their mobile phones. As someone who has occasionally shouted (and frequently cursed) at Siri, I felt it necessary in the course of my interview with Bennett to beg forgiveness for my behavior, even if it was the phone’s limited artificial intelligence that had actually earned my scorn. Her reply felt like an authentic absolution, straight from Siri: “Apology accepted!! Hahaha!” Born the daughter of a nurse and a salesman, Bennett grew up and lived in New England until her early teens, when the family moved to New York. She describes her parents as “wonderful, modest” people who likely never imagined their daughter might find a viable way to earn a living in the entertainment industry, perhaps since





Susan Bennett

neither of them were entertainers. “My mom couldn’t even carry a tune,” Bennett explains, though her dad did pay for piano lessons – an investment that would lay the foundation for Bennett’s future career. While at Brown University Bennett’s interest in music and theater blossomed. She acted in plays, joined the all-female a cappella group The Chattertocks, belonged to a jazz band called Conglomerate and later, while at The Berklee College of Music, she joined a jazz fusion band. Marrying straight out of college, she moved to Atlanta, and though her original idea had been to become a teacher she instead began to find work as a singer on jingles and backup vocals. One day an actor didn’t show up for a job so the owner pressed Bennett into service, noting that she didn’t seem to have an accent (the truth being that the strong Rhode Island accent of her childhood had been softened by her time in New York). Inspired by that first voice acting experience Bennett tracked down a voice coach and signed with an agent, effectively launching a career that would eventually see her voicing work for international clients like IBM, Coca-Cola, McDonald’s, and many other Fortune 500 companies. Despite her prestigious client list, Bennett’s starring role as the voice of the iPhone would be more a matter of fate. In early 2010 a start-up named Siri launched an iPhone app by the same name, which at the time was simply billed as an “iPhone search app.” While other mobile phone manufacturers had featured interactive voice interfaces for several years prior to the release of the iPhone, the conversational quality of Siri’s interface was something fresh. Yet, the speech technology behind

the Siri app wasn’t new by any means. For years, companies had produced speech systems that relied on having actors record small segments of speech patterns to be assembled later into words and phrases on-the-fly by a computer. The earliest iterations of this technology produced robotic sounding speech (think: the classic Speak & Spell toy), but thanks to the larger amount of memory available on the iPhone, the Siri app was afforded the ability to deliver a much higher quality of speech. Combined with the app’s ability to send the user’s spoken questions to more powerful computers “in the cloud” to be parsed, understood, and processed, the app couldn’t help but be perceived as an incredible leap forward – far ahead of anything seen previously in the mass consumer space in which Apple operates. The voice that would eventually become known as Siri was actually recorded in Atlanta back in 2005 during the month of July, nearly two years before the iPhone would be unveiled to the world. At the time, it was just another job for Bennett; a month of work for a telephony client that produced text-tospeech solutions for corporate needs. For four hours a day, five days a week, Bennett recorded a library of seemingly meaningless phrases and sentences, which a team of audiologists, linguists and audio engineers would refine and distill into a final voice product. There was no way that Bennett could imagine that her voice package would be bought by an apps company named Siri, Inc. (since apps did not yet exist) or that Apple would later acquire said company and its product and then integrate her voice into its flagship mobile phone (since Apple was not yet in the mobile phone business). There was certainly no way that she could have guessed that her voice would become such a cultural phenomenon. As a matter of fact, she didn’t even know that her voice was on the iPhone until a friend emailed to inquire if she was the voice of Siri. After a CNN reporter outed Bennett as the voice of Siri in 2013 she was inundated with hundreds of interview requests, and David Letterman sardonically suggested that Apple had her sequestered “deep inside a cavern in the Alps, sedated, her identity never to be revealed” before launching into one of his famous Top Ten Lists whose subject was “Things You Don’t Want to Hear From Your iPhone,” with Bennett’s voice delivering the answers as Siri. With the introduction of iOS7 in 2013, Bennett suspects that Apple may have replaced Siri’s voice with a new performer, but as Bennett likes to say: “I was the Steve Jobs Siri.”


I was the Steve Jobs



The Interview

You can’t really have a career in voiceover if you don’t have the basic element of a “good” voice.”

Long-form narrations On-hold messaging :30 seconds radio :60 seconds radio TV commercials Audiobook TV promos Radio etc.

You’ve been quoted as saying “Work first, play second,” but in the voice acting industry is it possible for a strong work ethic to compensate for a lack of native talent? Essentially, could you have gone as far in your career without a good voice? Actually, that quote refers to what I used to tell my son as he was growing up. What I meant was, do your work first, then play second so you can really enjoy your play without having the work hanging over your head! However, in reference to your question, I’d have to say, no. You can’t really have a career in voiceover if you don’t have the basic element of a “good” voice. It’s like asking if someone who can’t carry a tune could become a professional singer. However, just having a good voice isn’t enough, either. Like everything else, doing voice work requires skills, and those, of course, can and need to be learned.

Why should an aspiring voice artist consider taking voice training? Well, I’ll refer back to question one. It’s a question of learning skills . . . reading, interpretation, how to approach the many different aspects of voiceover. For instance, there are :30 or :60 radio and TV commercials, or there are long-form narrations, radio and TV promos, audiobooks, on-hold messaging, etc. Also, even if one is an experienced voice talent, it’s important to keep learning, to be reminded of certain techniques, or even to break some bad habits. I took several months of voice coaching last year, even though I’ve been doing this work for decades.

At what point in their career should a voice actor seek an agent? What should they look for in an agent? I think this is where an experienced voice coach would be helpful. First of all, every talent needs at least a :60 commercial demo that’s going to be viable, and enable the talent to hold his/her own in this very competitive business. Most coaches these days can help put together a demo, and if not, they’ll know of someone who can. Once the aspiring talent has that demo, he or she should be ready to look for an agent. As for finding



the right one . . . if you have that luxury (in many cases, finding ANY agent can be difficult, because of the over saturation of the talent pool), it’s best to find someone you connect with, and who can give you some support and guidance rather than just add you to the list of talent on their website.

Do people outside the business realize that what you do is acting? I think most people know it’s acting, because voiceover has become a “thing” in the last few years. In the past, people didn’t even know what it was, but with movies like In a World and I Know That Voice, they’re becoming more familiar with the business. Now, I’m not sure that applies to all Siri fans, though. Siri has somehow become a separate entity, and a person in her own right to some people!

The Internet has reduced the revenue stream for professionals in all the creative industries, from graphic design to photography to voice work. How has the voiceover industry at your level been affected by the influx of untrained, lowbudget performers from the web? Between changes in technology and the Internet, the voiceover industry hasn’t just experienced a change, it’s experienced a revolution. Before the advent of ISDN in 1995 (which allowed a talent to speak into a mic in one city and be recorded in another), most of the work was union, auditioned through an agent. Now, a lot of work is non-union, and all auditions are done via email. So, the threat isn’t really from the amateur voice talent, but from the clients whose only criterion is to get the job done as cheaply as possible. For those people doing work for major ad agencies and clients, or doing reads that require great skill, like medical narrations for instance, I don’t think there’s a threat from talent who can’t do the work.

If you were starting all over again would you be willing to compete in today’s voiceover industry? That’s really hard to say, but probably yes. I love doing voice work, I’m pretty good at it, and I really like all the other crazy people I get to work with. Not just other talent, but audio engineers as well. They’re the best!! And a lot of them are becoming voice talent, too!

How much do you rely upon Siri (or other voice control systems) on your own phone? Well, don’t tell her, but I don’t (laughing)! I do use voice control for directions in the car, but mostly the only thing I listen to is music.



Siri has somehow become a separate entity, and a person in her own right to some people!”

As someone who has been creating voice skins for artificial intelligences for several decades, do you have any insight into ways in which computer makers like Apple could improve the manner in which we interact vocally with our digital devices? I’m sure they’re already working on the biggest problem . . . having the virtual assistants understand the person speaking to them better. Right now, even though Siri has been smoothed out greatly since her introduction in 2011, she still has trouble understanding accents, or when people speak too quickly, etc. It seems like a nearly impossible task, teaching Siri to understand everybody. On the other hand, she’s a pretty quick study! (When she wants to be. She does have attitude.)

Susan Bennett with fellow musician.

Two of my friends (Barbara and Todd) are voice actors and I discuss their craft with them several times a year. Barbara does on-hold work and reads audio books. Todd does radio and animation. I recall them both using various terms to describe the quality of the different voices and characters they create, and their process for achieving those characters and voices. Is there a common set of terms used for describing the techniques used by voice actors and voice directors? Not officially, at least as far as I know. In fact, many times clients or directors have a tough time describing exactly what they’re looking for from the talent. It’s usually pretty obvious from the script, but sometimes they’re looking for that thing that they can’t quite describe, so then the fun begins!! (or not!)

Have you ever lost a job you were trying to win? How did you deal with it?

What is the state of the voice industry for women today? How has it changed from when you began? Do you perceive any cultural limitations for women’s voices in today’s culture? Female voice actors don’t have as much work as men. That’s just a fact. When I first revealed myself as the original voice of Siri, I got an agent in LA who told me the only reason they agreed to rep me is because of Siri. Otherwise, they already had enough female talent, and there wasn’t much work for women. That’s always been the case. I think it’s because people associate the male voice with more authority and gravitas. That is changing, though, and I do believe it will continue to change. As far as cultural limitations, though, they’re definitely there. You mostly hear female voices on commercials for women’s products, healthcare, or on phone systems . . . all of the former telephone operators were female, so that seems to have set a precedent.

Female voice actors don’t have as much work as men. That’s just a fact.”

Oh yes, many, many times! All actors, singers, and voice talent audition all the time, and are mostly rejected. It’s a part of the business, and you just have to accept it, and learn to not take it personally, even though it can’t get much more personal! I just look at auditioning as part of the job. Sometimes I’m disappointed if I feel I’ve done a great audition, and I don’t get the gig, but I don’t dwell on it. I remember an agent telling me once that the whole office loved me because I didn’t pester them about who won what audition, and why didn’t I get it? I figured if I got it, they’d call me.

Have you ever turned down a job? Why? Yes. I’ve turned down things that didn’t seem appropriate or that paid badly. Actually, I don’t really turn down jobs, I just ignore the auditions for jobs that don’t seem right.

What has no one ever thought to ask you in an interview? Hmmmm . . . my favorite color? Well, I don’t have just one, so I can’t answer that. No, seriously . . . no one’s ever asked me about causes that I care about, but I’ll tell you: saving species that are on the brink of extinction (i.e. lions!); and recyling!!! It makes me crazy to go to a major hotel or restaurant and see a garbage can with bottles, cans and everything else mixed together. Sigh. Now, if you’re wondering how I happened to see the garbage, I’m also a musician, so I’ve seen just about every hotel and restaurant kitchen in the city!! For those of you who don’t know what I’m talking about, they always make the musicians come in the back way! Go to page 83 for more tips from Siri..




Gold & Silver Circle Awards E

stablished in 1989, the Gold and Silver Circle recognize an individual’s lifetime of dedication to the Southeast television industry. This prestigious award is reserved for those who persevere in an industry known for change. Inductees for the Gold Circle have at least 50 years of experience and have made significant contributions, not only to the industry, but to their communities in the region. Inductees for the Silver Circle have at least 25

years of experience in television, and have also made their mark on their communities. These leaders join an impressive group of industry professionals who have helped shape the past, present, and continue to influence the future of the broadcast industry. 2015 Induction ceremony was Friday, August 28 at the Grand Hyatt Buckhead in Atlanta. 14 individuals were inducted.

Jeff Hullinger.

Bill Thompson & friends.


Larry Blunt with family & friends.

Photo Credit: Studio Primetime - Afif Cherif (404) 314-1994

Evelyn Mims with family & friends.


August 28th

Dave Baird with family & friends.

Back row (L to R): Michael Cogdill (WYFF), Jeff Reid (WXIA), Jerry Carnes (WXIA), Steve Graham, Dave Baird (ABC 33/40 Birmingham), Larry Blunt (WLOS), Port Wilson. Middle row: Bill Thompson. Front row: Greg Stone (WSB), Randy Travis (WAGA), Evelyn Mims, Kim Gusby (WSAV), Bob Neal, Monica Pearson (Mistress of Ceremony).

Steve Graham with family & friends. Kim Gushy with family & friends.

Jeff Reid with family & friends. Bob Neal with his wife.




Georgia Governor’s Tourism Conference T

he largest crowd to ever attend the Georgia Governor’s Tourism Conference (550+) gathered in Savannah and Tybee Island August 30 through September 2. The conference presented three tracks of study for conference attendees: Partnership, Marketing, and Technology. Kevin Langston, Deputy Commissioner of Tourism, Beda Johnson, Division Director for Outreach, and Lisa Love, Director of Music Marketing and Development, introduced new initiatives for tourism and

music. Senator Frank Ginn and Representative Ron Stephens chaired a Senate and House Joint Committee on Economic Development and Tourism Town Hall Meeting featuring an engaging discussion with audience members. Governor Deal closed out the conference with encouraging words for the state of tourism in Georgia and the positive impact the growth of the film industry has produced for tourism during recent years.

House Chair Ron Stephens & Craig Miller.

Senator frank Ginn, Chair of Economic Development and Tourism for the Senate (back row center left) and Representative Ron Stephens (center right ) Chair of the Economic and Tourism Committee for the House address attendees of the Governor’s Tourism Convention in Savannah.

Penny Houston & Gerald Greene Georgia House of Representatives.

Trish Taylor and Georgia House Representatives William Hitchens at the GPP Booth.

Craig Miller, Trish Taylor, & Brennen Dicker, GPP Government Relations.




Steve Harvey’s Neighborhood Awards with Bronzelens

BLFF Fans.

August 7th–9th


ronzeLens was honored to return for a second year to serve as the official film host for 2015 Neighborhood Awards August 7-9th. Attendees had an opportunity to see the latest films and TV shows from top TV networks and major film studios. There were also talkbacks with celebrities connected to selected film and TV projects.

Rodney Perry, Comedian; Family Time Cast: Omar Gooding, Angell Conwell, & Bentley Kyle Evans, Director and Executive Producer.

Rushion McDonald, Kathleen Bertrand, Executive Producer, BLFF.

Café Mocha Team, Loni Love, MC Lyte, & Angelique Perrin (far right) interview Sanaa Lathan and Michael Ealy for The Perfect Guy.

Deidre McDonald, Founding Artistic Director, BLFF; Omar Gooding; Angell Conwell; Dorien Wilson; Ryan Glover, President, Bounce TV; Tamala Mann; David Mann; Rodney Perry.

Rodney Perry, Tamara Mann, David Mann, Roger Bobb.

Karyn Greer, Trey Haley, Brely Evans, & Lamman Rucker.

Monica Pearson, Terri J. Vaughn, Roger Bobb, & Cas Siegers-Beedles.



Premium Tastings at Savi Provisions Join Savi Provisions for a four – course dinner and tasting of our Premier Selection of Wines paired to fare with our chef-driven menu in our private tasting room.

Hosted by a specialized wine professional Prices start at $75 per person – Includes tax plus gratuity Tickets available at SaviProvisions.com

Savi Provisions offers a variety of tasting options and packages starting at $25 per person Grand and Premier Cru wines Private Label Barrel Whiskies Vodka from Poland, Russia and Sweden.

For catering requests contact 404-664-4405. 54



Make Me A Star


Who Knew?


Tinsel & Sham


Tips From the Voice of Siri


Ready, Set, Arrrfff!


Cushy Landings


So You Want to Be In The Movies...


The Child Actor


Is That You?


Nail Your Audition and Get The Big Part









How Many People Does it Take to Get You in Front of The Camera By Allen Rabinowitz here’s an African proverb that states that it takes a village to raise a child. In the case of an actor’s career, it takes an army of well-trained, disciplined professionals. If an award-winning actor thanked all the people involved in getting him or her to the awards podium, the acceptance speeches would last until dawn. The leaders of this campaign—the Generals, if you will—are the actor’s talent agents. Although important contributions are made by such people as headshot photographers, acting teachers and coaches, managers, entertainment attorneys, publicists, business managers, accountants and other professionals, without the guidance of the agent, that actor might not have had the opportunity to give the lauded performance. “You have to have an agent to get the better jobs,” declares Linda Rutledge of the BNB Talent Group. “Most of the castings come through agencies. You can get extra work or do independents on your own, but if you want to get on a film or get on the big commercials, you need an agency for that.” Mystie Buice of Houghton Talent says that the aspiring actor needs only a few things to grab an agent’s attention: “We recommend that they start with a simple headshot from an industry photographer and some general classes. It’s pretty basic.”


Mystie Buice



You have to have an agent to get the better jobs...” ~Linda Rutledge

Corey Reese Photographer/Cinematographer A Headshot Photographer can help capture that vital first impression, providing talent with an open ticket to audition or leave you 0 of 100 on submissions, with no call backs. I have the ability to give the actor a fighting chance to be seen with a special moment captured in time forever.

Guy D’Alema Headshot Photographer The first step is to fully understand what the actor needs. Collaborate with them in creating the “look” that will sell them to the casting director for the particular part they are auditioning for. The image needs to go beyond a simple “likeness” of the talent. The photo needs to have a “soul” – an image that conjures up emotion and feeling. The idea that one look/one headshot is all an actor needs to work is a dated and false concept. Assist the actor in creating different looks for the different roles they seek. Think outside the box.



Along with talent, desire and the right look, the essentials to getting started, include a simple four color headshot and an honest resume that lists the actors performances, classes, training and special talents. According to Rona Burns of The Burns Agency, “First and foremost is talent. This agency will only look for and represent actors with more than five years’ experience in film, television or voiceovers. We don’t represent people just starting out; but we can give them references of point them in the right direction.” Burns suggests that the neophyte find out about the agencies in Atlanta and the areas they specialize in—voiceover, film, television, modeling etc. Then submit to those agencies to their website and learn their policies. “Submit your materials based on your resume, “Burns explains.” There are some agencies that don’t like drop-byes where people just walk in with their resume and headshot and say, ‘I need to talk to an agent.’ The market has gotten so large that most agents don’t have the time nor staff to sit down and talk with each individual person walking in. The website is a good place to find all the necessary supporting avenues into the market: coaches, trainers, managers etc.” With the growth of the Atlanta production market thanks to Georgia’s tax incentive program for the film and entertainment industry, actors have been relocating from other states to take advantage of the abundance of work taking place in the Peach State. For the industry standard 10 percent fee, an agent will respond to breakdowns which are the roles that agents need to fill for their production clients. The agent will submit an actor they feel is right for the role. The breakdowns come in through a service called Breakdown Express. The Danita actor will receive a text that a Florance breakdown has arrived via Actors Access another service. “Casting directors are bicoastal,” explains Danita Florance, Director of Talent for Salt Model & Talent, “and they usually don’t have offices in Atlanta. If they do have an office here, there might be a callback. If not, they book directly off the self-tape.” “We get the breakdowns that they don’t see and we are there to submit them to get the get the roles that CSA casting directors put out only to agents which can bring their career to a whole new level,” says Florance “You can start your career in student or indie films or as an extra or stand-in, you can work your way up the ladder to the bigger roles. You

need an agent for that because [the talent] is not permitted to submit on their own.” Technology has changed much of the agent’s job description. Since the process is now electronically based, Florance estimates that 98 percent of the jobs booked for her talent is done through self-tapes. “Actors have to do a lot of self-taping,” states Rebecca Shrager, president/owner of the agency People Store. “Instead of going into a room with a casting director, they have to get themselves on tape and upload it so that we can get it to the casting director.” Because the self-tape is so important, Shelly Justice, owner of Salt Model & Talent says the technical aspects of the self-tape must equal the quality of the performance. “It’s a challenge to get our client to understand just how important self-tapes are because there just aren’t inShelly person auditions anymore,” she Justice explains. “Each role can gather 400 to 500 submissions, so if you’re going to be presented to casting you have to stand out—or at least not fall below other tapes.” If the actor doesn’t possess an in-house studio, Justice recommends going to a taping service that has high definition cameras. The agent will then send out the tape via Breakdown Express. She stresses that not only does the tape have to be technically excellent featuring top-quality lighting, background and sound, but in addition not have a reader who overpowers the talent because the focus is then on the reader not the person auditioning. “We try to have that personal relationship with the casting director to promote the talent we feel is best for this role,” says Justice on the agent’s role in the brave new world of electronic submission. With so many submissions, sometimes casting directors don’t want to talk to the agents that much. All they want is an electronic submission and

Each role can gather 400 to 500 submissions, so if you’re going to be presented to casting you have to stand out— or at least not fall below other tapes.” ~Shelly Justice

Dwayne Boyd Acting Coach/Instructor An acting coach is pivotal to an actor’s growth and career. It may take many teachers to develop an actor. Acting is a discipline that demands skills. An actor can act passionately and emotionally all by themselves, but when the stakes are high and the tension and self-consciousness creep in, actors need techniques to fall back on; that’s where the acting coach comes in. It’s imperative that the actor understands how to effectively use acting tools and emotional triggers to be completely in the moment while making self discoveries about themselves as actors.

Vince Pisani Acting Instructor/Coach The one congruent element between all working actors is that they constantly strive to improve, demanding excellence and truth in their work. As a coach and working actor myself, my job is to help my students find that tilt that places them in the given circumstances of the character and explore as many possibilities for behavior and choices, so they can feel as free as possible in the audition or on set to respond to the moment at hand, work quickly, honoring the character, and their director. Confidence is key, and that comes through intentional training and finding new limits. SEPTEMBER / OCTOBER 2015


Latrevia P. Kates Johnson Entertainment Attorney, Kates and Associates You are excited. It’s finally happening. Your career is beginning to look promising. You have your agent, you have your manager, you’re getting the work - now protect it! Employing an entertainment attorney will be one of the most important decisions you will ever make in your career. It is advisable that you consult with an attorney early on to avoid costly decisions. Your entertainment attorney can assist with tasks such as drafting agreements, negotiating contracts, structuring better deals and even identifying bad ones. Don’t sign anything without first consulting with an attorney. It costs a lot less to protect your rights now than to fight for them later!

Gail Tassell Acuity Entertainment Management As in any business it often takes a strong support system to build a successful company. The same thing is true of an Actors career. A Talent Manager helps talent bust down doors, keeps talent top of mind with their agents, helps the talent focus on their goals and put them into motion. Managers work closely with Talent Agents, build relationships with casting directors, create opportunities for the actor, build the team; attorney, publicist, assistants, and much more. It takes a team of support from the manager, agent, casting director, producer, director, network, and studio… to go from audition to booking. A good team will help shape the direction an actor goes. 60


Acting coaches and teachers are important parts of helping get an actor’s career moving.”

~Shelly Justice

they’ll go through the tapes. As an agent, we try to showcase our talent and show [the casting directors] why they should take the time to look over the tape because the actor would fit the role perfectly. Some of it is to have that direct communication to casting and to have them be open to take the time to view a certain actors self-tape.” Even with digital submission becoming the industry standard, most agents recommend that an actor still deal with such old school methods of getting seen as appearing in stage productions, workshops and hone their skills with classes and coaches. Says Justice: “Acting coaches and teachers are important parts of helping get an actor’s career moving.” Adds Shrager: “Most casting directors and most agents prefer people with theater backgrounds. If they are first starting out and don’t have much experience, but they may have been cast in a good role in a good production, many agents will go see the talent perform in a theater.” For a fortunate few who see their careers grow, there may a time to increase the number of people supporting the actor’s career with advice and counsel. Where an agent might have once been all that was necessary, there is an army of support people. But, when and who should be called upon for their knowledge and insight? “It depends upon how quickly the actor’s career is growing,” says Joy Pervis of J Pervis Talent Agency. “When they first get going, an agent is probably all you need. As you continue to grow—or are fortunate enough to actually book a series regular or a lead in a movie—then it’s time to add people to the team Joy such as a manager or Pervis entertainment attorney.

We’ve had that happen several times in our agency where local talent booked a lead in a film or a series regular. At that point, you add to the team.” Although agents traditionally submitted actors for the roles, increasingly Rebecca Shrager managers are doing that as well. In fact, the lines between the roles are getting blurred. Where the manager once exclusively looked after the client’s “big picture” career prospects, many are also taking the agent’s role of submitting the actor for parts. “The manager historically handled an actor’s promotional side,“ Shrager explains. “They contact casting and promote the talent individually. As agents, we also promote talent, but in Georgia, not everyone has a manager so it’s not the same as in L.A. or New York.” Perhaps the acrimony between the advisers comes from the rules governing the behaviors and payments of managers and agents. Whereas managers can charge 15 to 20 percent of the talent’s income, an agent is bound by covenants regarding their relations with actors set forth by the Screen Actors Guild/American Federation of Television and Radio Artists (SAG/AFTRA), the labor union representing talent. Under the union rules, the agency will be paid 10 percent, which does not come out of the talent’s paycheck, but rather paid by the producers. Managers are under no restrictions regarding their relationship with the acting client. Others who may join the performer’s inner circle of advisers could include a business manager who looks after the talent’s finances; an attorney, preferably one well-versed in the nuances of entertainment law; and perhaps a Certified Public Accountant who might advise on tax questions. Some actors might forego a manager in lieu of an attorney to negotiate bigger deals. “Unlike managers, entertainment attorneys can negotiate contracts,” says Pervis.” Some of our clients opt for an attorney rather than a manager. There are various roles that we feel an entertainment attorney should negotiate due to certain terms and points that they may be able to get more than an agent.”

Alan S. Clarke Entertainment Attorney, Alan S. Clarke & Associates, LLC In my twenty-two years as an entertainment attorney, I often have been asked by talent why they need an attorney when they have an agent and/ or manager. Many of those are the same people who come to me to ask me to explain to them their contracts with their agent/ manager, and to assist them in enforcing these agreements or in getting out of these deals when they are dissatisfied. In addition to negotiating talent’s agreements with their agent/ manager, on the transactional (nonlitigation) side of our practice, we work with the agent/ manager to negotiate third party agreements on talent’s behalf – and to assist talent in enforcing or getting out of those agreements if things don’t go well. A big part of our job is education. Talent comes to our

When you start to make a name for yourself, a publicist is a good thing to have...”

offices with lengthy contracts and asks us to explain the “legalese” in plain English. We ensure that talent understands their rights and what they are agreeing to when they sign legal documents, and inform them what is standard in the industry.

~Linda Ruthledge



Farrah Gilyard Publicist, Atl Lifestyle Entertainment Firm It takes a strong team of support for an actor. My role as a publicist for an actor is to increase their viability. Also to increase their awareness on social media thru different campaigns and events that makes the brand stand out. I work hand in hand with the agents and managers to put the client and their brand in the right places at the right time. Putting them in situations that enhance their brand.

The work days are growing longer; it feels like its 24/7 because things come in at any time.” ~Danita Florance

Chuck M. Douglas Entertainment Attorney, Wakhisi-Douglas, LLC A good entertainment attorney is like a quarterback. He makes the calls, and all plays go through him. Whether you’re an actor, screenwriter or producer, he’s a critical and integral part of your team. The ideal attorney has a knowledge of the industry, an extensive network, and a broad command of applicable law (including contracts, securities, tax, finance, intellectual property and litigation). Ensuring you get the best deal, the most money and the proper credit.



If an actor really hits the big time, they might seek out a publicist. In addition to the usual television and print media; the publicist should also know the ins and outs of social media and be prepared to help guide the actor to any appearances requiring strolling the red carpet. “When you start to make a name for yourself, a publicist is a good thing to have,” says Rutledge. “They’ll make sure that you’re being seen and they’ll get you a little more noticed.” With the growth of the Atlanta market, there’s been an influx of actors from other parts of the country, some resettling here. In some cases, actors who work a lot in the Southeast might consider having two agents, their original agent in their home base and one who represents them in the Southeast. According to Shrager, People Store has developed relationships with agencies in New York and Los Angeles to handle such situations. “If someone has us and another agent,” says Shrager, “we try to coordinate and copy each other just like we would with a manager. They might submit them for a project outside this region. But, if someone doesn’t have other

The biggest challenge for Southeast talent is that they really have to raise the bar and work on their craft, because now, they’re competing with actors from Los Angeles who have gotten representation here in the Southeast and can be considered local hire or who are actually moving here.”

representation, we submit them everywhere.” The production boom resulting from the film industry’s tax incentive has had a positive impact on most of Atlanta, and talent agents have been no exception. They all tell of busy days that often become busy nights. The once sleepy city now runs 24/7, and celebrity sightings are becoming commonplace. However, no one talks of resting upon their laurels, seeing the triumphs of yesterday as a prelude for better days ahead. “It’s impacted the way we look at talent,” Florance says. “We know the roles and shows we get produced here. We know the type of look these shows go for, so it makes us take another look at the talent we’re taking in. We realize as well that it’s more competitive now. Ten or 20 years ago, we could take in inexperienced actors with only a credit or two and give them a shot. You can’t do that now unless they have a specific look.” “We’ve been slammed, but we love that,” declares Rutledge. “We’ve had to bring in more and more people because castings are multiplying. The work days are growing longer; it feels like its 24/7 because things come in at any time. Certain clients need us to be on call, to be ready to jump in and do casting and get our talent where they need to be. It’s intensified our role. We really need to be on target. We have to make sure our actors are trained and available for the work coming in.” Pervis agrees with that assessment of shrinking time. “We’re so much busier than we used to be 10 or 15 years ago,” she says.” We had more time to do hand-holding and guiding people in their career, and almost acted as an agent/ manager. Now, with the growth of the Atlanta market we are really at a comparable level to the New York and Los Angeles agents. There are much more jobs, breakdowns and castings we’re submitting on and pitching and promoting talent that we don’t have as much time.” In addition to the incredible shrinking day, Pervis says the roles for her clients are moving up as well. “We get a lot of day player roles in our market looking for Southeast talent. But the breakouts we’ve been getting we’re seeing more guests star and more large supporting leads, series regular roles. If you’re good and you have a solid reel and a solid resume, you do have those opportunities that you didn’t have a few years ago. The biggest challenge for Southeast talent is that they really have to raise the bar and work on their craft, because now, they’re competing with actors from Los Angeles who have gotten representation here in the Southeast and can be considered local hire or who are actually moving here. We have several clients on our roster who have officially made the move to Atlanta just to take advantage of this market and get more work.” Georgia has been the flavor of the month in terms of production in the past, with such luminaries as Burt Reynolds leading the charge. But, this time, it looks and feels different. Serious money and talent now live here, and the infrastructure necessary for long-term success is rising. The market’s talent agents are not only finding work for their clients, but also fueling the enthusiasm. Says Pervis: “I think it’s going to last, there are so many big movie studios that have already planted themselves here, and I don’t think they would have made the large investment in our market if they had not anticipated it to be a long-term venture.”

~Joy Pervis



Georgia is known for our southern hospitality, our peaches, peanuts, antebellum homes, rich history .... and our actors. Julia Roberts, Chloe Grace Moritz, Laurence Fishburne, Jasmine Guy, Dakota and Elle Fanning, Jeff Daniels, Ed Helms and Wayne Brady are just a handful of actors who live in Georgia or are from Georgia. Oz reached out to a number of local talent agencies in hopes of representing as much of this talent as possible, and because of the

overwhelming response we realized we would only be able to provide a snapshot of what Georgia has to offer. Here you can find a sampling of SAG-AFTRA actors and actress who are Georgia residents. We have also included a few children who are SAG-AFTRA eligible because of their regular work in the state. We would still like to recognize the talent agencies and non-union talent we weren’t able to include and encourage our readers to visit the IMDb pages we’ve listed below for representation of the actors and actresses who call Georgia home.


Noah Lomax

Vince Pisani

Michael Cole

The SpongeBob Movie: Sponge Out of Water, The Walking Dead, Safe Haven

Halt and Catch Fire, Complications, Satisfaction

Being Mary Jane, Vacation, The Crazies

Catherine Dyer

Nicci Faires

Elizabeth Hunter

Eric Goins

Complications, Taken 3, Necessary Roughness

The Spectacular Now, Devious Maids, Last Vegas

Finding Carter, Powers, Nashville

Halt and Catch Fire, Satisfaction, Ride Along

Houghton Talent - pro-labs.imdb.com/company/co0098388/ 64



Christine Horn

Daniel Thomas May

Complications, Selma, Rectify

Nashville, Sleepy Hollow, The Walking Dead

Afemo Omilami

Cooper Andrews

Jill Jane Clements

Kimberley Drummond

True Detective, Terminator: Genesis, The Hunger Games: Catching Fire

Halt and Catch Fire, Your Pretty Face Is Going to Hell, The Red Road

Flight, The Internship, The Hunger Games: Catching Fire

Magic Mike XXL, Hunger Games: Catching Fire, Sleepy Hollow

David Silverman

Sharon Blackwood

E. Roger Mitchell

Elisabeth Omilami

Survivor’s Remorse, Halt and Catch Fire, The Walking Dead

Magic Mike XXL, Halt and Catch Fire, Flight

Selma, The Equalizer, The Hunger Games: Catching Fire

Comeback Dad, In the Meantime, Marry Me

Liz Morgan

Keith Bolden

Katelyn Nacon

Chicago Fire, The Remaining, The Walking Dead

The Haves and the Have Nots, Goosebumps, The Vampire Diaries

The Walking Dead, Too Many Cooks, Resurrection

Clayton Landey If Loving You Is Wrong, Complications, For Better or Worse

Atlanta Models & Talent - pro-labs.imdb.com/company/co0085252/



Mandi Kerr

Josh Ventura

Terri Abney

Brandon Spink

The Walking Dead, Rectify, Fantastic Four

Sleepy Hollow, Satisfaction, Nashville

Money Matters, Single Ladies, The Haves and the Have Nots

Game of Your Life, Devil’s Knot, Untitled Johnny Knoxville Project


Gary Weeks

Lane Carlock

Jurassic World, The Spectacular Now, Project Almanac

Complications, The Detour, Powers

Kendall McIntyre

Cindy Hogan

Alicia Ying

Constantine, Paper Towns, Return of the Sandman

Beautiful Creatures, Drop Dead Diva, Second Generation Wayans

The Young and the Restless, Days of Our Lives, My Roommate the

Brandon Carroll

D.R. Lewis

Darlene French White

Selma, The Walking Dead, Rectify

Touch, 24, Parenthood

Anchorman 2: The Legend Continues, Let’s Stay Together, Army Wives

Avery Sisters Entertainment - pro-labs.imdb.com/company/co0483955/ 66



Michael Young

Cocoa Brown

Duet, The Love Boat, Silver Spoons

For Better or Worse, Ted 2, The Single Moms Club

Ahmed Lucan

Jimmy Ray Pickens

Natalie Karp

RonReaco Lee

Khazana, Satisfaction, Homeland

Resurrection, Walker, Texas Ranger, Lonesome Dove

The Vampire Diaries, The Haves and the Have Nots, Natural Born Killers

Survivor’s Remorse, Complications, Let’s Stay Together

Michael Strauss

Shameik Moore

Luke Donaldson

Nicholas Stargel

The Game, Coming to America, Law and Order

Dope, Incredible Crew, The Watsons Go to Birmingham

The Walking Dead, Under the Dome, I Didn’t Do It

Oliver’s Ghost, Revenge, Drop Dead Diva

Michael Milligan

Rodney Perry

Maggie Elizabeth Jones

Amber Brooke Wallace

Dance of the Dead, Single Ladies, Let’s Be Cops

Madea’s Big Happy Family, Family Time, The Mo’Nique Show

Ben and Kate, We Bought a Zoo, Identity Thief

Eastbound & Down, 90210, Footloose (2011)

J. Pervis Talent Agency - pro-labs.imdb.com/company/co0215762/

The People Store -pro-labs.imdb.com/company/co0036313/ SEPTEMBER / OCTOBER 2015


Carl Anthony Payne

Chuti Tiu

Renee Lawless

Martin, One Love, For Richer or Poorer

Desire, Weeds, The Internship

The Haves and the Have Nots, Bono, Heavers to Betsy

Shayr Guthrie

Jody Thompson

Heather Roop

Oscar Torre

Guiding Light, Beverly Hills 90210, Fanelli Boys

Constantine, The Blind Side, Selma

All My Children, Guns, Girls and Gambling, The Hangover

The Hangover Part III, The Boatman, Caribe Road


Crystee Pharris

Clay Chappell

Margo Moorer

Devious Maids, Nashville, Passions

Selma, Bessie, Footloose (2011)

Drop Dead Diva, House of Payne, ATL

Richard Malcolm Reed

Adele Heather Taylor

Megan Gallacher

Tonya Kinzinger

Diary of a Mad Black Woman, Madea’s Family Reunion, Dawson’s Creek

Hail, Caeser!, The Other Side, Finding Focus

90210, Criminal Minds, Nat Turner: A Troublesome Property

The Bold and the Beautiful, Dancing With The Stars (France), Sous le soleil

The Burns Agency - pro-labs.imdb.com/company/co0094269/ 68


Jackie Prucha

Kris Hazard

Sheri Mann Stewart

Carrie Lazar

Outcast, The Last of Robin Hood, Trouble with the Curve

Badger, Digging to China, Dreams & Wishes

Why Did I Get Married Too?, Why Did I Get Married?, Drop Dead Diva

Grudge Match, Longmire, NCIS: New Orleans

Ande Marx

Freda Scott Giles

Billy Kelly

Zinnia Lane

Grounded for Life, A Nighttime Visitor, The Wayans Bros.

Whistle Lesson, Three Can Play That Game, Boycott

The Donut Shop, Minority Report, Law & Order: LA

House Of Cards, Drop Dead Diva, Nashville

Wednezday Ryan

Sanna Haynes

Kris Ryan Wheeler

Donna Ann Baltron

Criminal Minds, The Family Maguire, The Matrix Reloaded

If Loving You Is Wrong, Private, Desires of the Heart

Chicago Fire, Open House, Cougars Inc.

Cybil, Norm, NYPD Blue

Roman Artiste

Armon York

Hawk Younkins

Kids Killing Kids, NYPD Blue, The Parent ‘Hood

Warrior, LOL, The Genesis Code

Revolutions, Let’s Be Cops, Under the Dome


Salt Model & Talent - pro-labs.imdb.com/company/co0508373/

Kathleen Schultz Associates Talent Agency - pro-labs.imdb.com/company/co0092360/ SEPTEMBER / OCTOBER 2015


Nick Dekay

Porsha Ferguson

Tommy O’Brien

George Kaiser

Let’s Be Cops, The Internship, Crazy, Sexy, Cool

The Haves and the Have Nots, Breathe, Twisted Mines

Ballers, Bloodline, Being Mary Jane

Last Vegas, Drop Dead Diva, The Endless Whispers

Keri Maletto

Ken Delozier

Yarc Lewinson

Jamie Hunter

Devious Maids, The Glades, So Dark

Change Up, It’s Supernatural, Too Many Cooks

Aphids, Pearl Street, Miracle at St. Anna

Potluck Series, Backstage Pass

Curtis Lyons

Frank Jennings

Scott Hunter

John Paul Marston

Ballers, Power, Banshee

Very Bad Things, Ed TV, X Files

Banshee, Vacation, Reckless

Sleepy Hollow, Red Band Society, Swamp Murders

Dave Cohen

Tony Williams

Robbie Cox

Naza Usher

Eastbound & Down, Trouble with the Curve, Glory Road

The Thoughtful Thief, Deadly Affairs, House of Cards

Montecito Heights, Til Death Do Us Part, Farmer’s Tan

Sincere’s Heart, Walkaway, Clipped Wings, They Do Fly

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Heidi Kerring

Donnell Grey

Michelle Rose

Youthful Daze, The Journeys, She Wants Me

Cut to the Chase, Sabrina the Teenage Witch, Greed

Hacienda Heights, Edges of Darkness, The Mindy Project

R.J. Shearer

Al S. Mitchell

Timothy Douglas Perez

Kenneth Israel

The DUFF, Paper Towns, Sleepy Hollow

Halt and Catch Fire, Resurrection, Devious Maids

Pitching Hope, The Red Road, Sleepy Hollow

House of Cards, Sleepy Hollow, The Vampire Diaries

Yolanda Asher

Sarafina King

Jwaundace Candece

David Alexander

Ivide, Satisfaction, It’s Supernatural

Devious Maids, Entourage, If Loving You Is Wrong

Let’s Be Cops, Resurrection, The Haves and the Have Nots

House of Cards, The Haves and the Have Nots, Satisfaction

Allen Daniel

Angela Ray

Emmanuel Lewis

Jackie Goldston

Satisfaction, Billy Lynn’s Long Halftime Walk

Love Thy Neighbor, Louis, One Tree Hill

Webster, Moesha, Kickin’ It Old Skool

Blended, Drumline: A New Beat, Truth Seekers

The Jana Vandyke Agency - pro-labs.imdb.com/company/co0173857/



Euseph Messiah

Ed Lee Corbin

Julia Denton

Diesel Madkins

Furious 7, Survivor’s Remorse, Hindsight

Revenge, Weeds, True Grit

Devil’s Due, Catch of a Lifetime, Necessary Roughness

Unanswered Prayers, Mr. Lockjaw, Searching for Signals


Chas Harvey

Jason Vail

Parker Wierling

Let’s Be Cops, Army Wives, The Inspectors

Guiding Light, Gut, Million Dollar Arm

The Walking Dead, The Originals, Sleepy Hollow

Autumn Monroe

Theresa O’Shea

James Bigwood

Zane Stephens

Alvin and the Chipmunks: The Road Chip, Winter’s Reality, Thou Shall Not

Rectify, Your Pretty face is Going to Hell, The Last of Robin Hood

Lipstick Jungle, Revelations, Boycott

The Internship, The Vampire Diaries, The Gauntlet

Be Satrazemis

Taylor St. Clair

Nefra Burlock

Lisa Mende

Twisted Knickers, Urban Extreme, White Point CA

The Hunger Games: Catching Fire, Dumb and Dumber To, Drop Dead Diva

Boss, The Lies We Tell But the Secrets We Keep, The Chicago Code

Your Pretty Face Is Going to Hell, Sex and the City, Seinfeld

Stewart Talent - pro-labs.imdb.com/company/co0086319/ 72


Rob Cleveland

Cynthia Young

Geoff McKnight

Deadra Moore

Drumline, Meet the Browns, Love Potion No. 9

Taken, Cold Case, The Holiday

Now and Then, House of Payne, The Last of Robin Hood

Blotter!, Scream 2, I Saw the Light

Carrie Anne Hunt

Jay Pearson

Linda Boston

Meg Gillentine

Magic Mike XXL, Sleepy Hollow, Drop Dead Diva

The Hunger Games: Catching Fire, The Crazies, The Secret Life of Bees

It Follows, Red Dawn, Prayers for Bobby

Complications, Sleepy Hollow, The Producers

Randi Layne

Tracey Bonner

Austin J. Talley

Jessica Webb

All My Children, Summer Catch, In The Heat of the Night

The Longest Ride, Resurrection, Low Winter Sun

A Letter to Three Men, Brother’s Keeper, Dread

Dog Days of Summer, Five Blocks Away, Buddy: The Musical

Hallie Ricardo

Scott Deal

Charles Green

Video Game High School, Walking in Circles, General Hospital

Homeland, Criminal Minds, The Mentalist

The Game, Constantine, Kidnapping Mr. Heineken


Privilege Talent Agency - pro-labs.imdb.com/company/co0085469/





EDITOR’S NOTE: This is a reprint, verbatim, with permission, of an article from a 1999 edition of Oz Magazine. Some advice is just plain timeless!




ver since Thomas Edison patented the motion picture camera, people have dreamed about seeing themselves on the screen. Unfortunately, for just about as long as that fantasy has existed, unscrupulous individuals have sought to take advantage of the dreamers. In Atlanta, and other media centers across the country, con artists posing as talent agents prey on the hopes and aspirations of those seeking to become actors in commercials, films, television shows, and other productions. People are aware that the validity of many talent agencies is questionable. However, despite following what their common sense tells them, people lose all perspective when a silver-tongued persuader tells them they’ve got what it takes to become a star. “It’s an industry that relies on hopes and dreams in the first place,” says Norman Bielowicz, former Director of the Georgia Film & Videotape Office. “When you start using these hopes and dreams to advance your financial position, that’s when you get into trouble.” Atlanta’s reputation as a growing production center is well known ~Norman Bielowicz nationwide, and along with talent and production companies, a large number of rip-off artists have also settled in the area. Although we won’t mention these scammers by name, we’ve contacted a number of well-known professionals in the production community to help us inform readers about the common traps that are set up to snare would be on-camera talent. When dealing with a talent agent, a good rule of thumb is that if it sounds too good to be true, it probably is. A legitimate talent agent, according to those contacted for this story, would never make any promises or guarantees regarding work. Kay Tanner, Vice President of the Genesis Models & Talent agency, says the agent’s job is to provide occasions for talent to audition for work. “An opportunity to get you an audition and actually getting you work are two different things,” she explains. “Anyone who promises you work is talking out of both sides of their mouth.” “No one can promise employment,” says Melissa Goodman, Executive Director of the Atlanta offices of the Screen Actors Guild (SAG), and the American Federation of Television and Radio Artists (AFTRA). “That’s not the agent’s decision, it’s dependent on the client or the director’s approval. You have to go out and audition to get the work.” Outrageous promises and guarantees are only one tactic used by unscrupulous talent agents. If an agent asks for a “registration fee” to represent a talent, that’s another signal that the prospective talent should leave immediately. “If they take one penny from you up front, do an about-face and run as quickly as you can,” advises Scott Woodside, an actor and radio personality on Z-93 Radio. Woodside advised would be actors on the do’s and don’ts of breaking into the business on his video, You Oughta Be

It’s an industry that relies on hopes and dreams...”

If they take one penny from you up front, do an about-face and run as quickly as you can...”

In Pictures. The video, which was available from 1993 until 1998, explained how to break into the Atlanta talent market. After the initial run of his video sold out, Woodside moved onto other pursuits, but says he still helps out people whose children wish to enter the business. His main warning is to be wary of agents who expect money before finding work. “If they want any fees up front, they’re ~Scott Woodside out for your money and not out to market you, or your child,” Woodside explains. “An agent makes money when you, the talent, makes money. That’s what an agent is all about.” Others contacted for this article agree with Woodside. They stress that the only time an agent gets money from a client is when they get work for that client. “We recommend that people do not register with agents who ask for money up front,” says Goodman. “A agent works for you, and should work on a commission only basis when work is obtained for you.” Some of the most common scams involve agents convincing want to be actors that the key to success lies in signing up for acting or modeling classes through the agency, or going to the agent’s exclusive photographer for a complete portfolio of pictures. People stress that if an agent asks for money for any of these necessary services, it’s time to walk away. Goodman says that agencies that are signatories to SAG and AFTRA cannot be affiliated with acting schools or photographers, and can only make suggestions about classes or photographers. “You need to avoid agents who say ‘You have to be trained here,’ or ‘You have to go to this specific photographer, or we won’t represent you,’” she explains. People should also be wary of classified ads in the newspapers. “Legitimate producers do not put ads in the newspaper,” says Bielowicz. “They work through established, legitimate talent agents. Answering ads in the newspaper is typically a way to end up in [an acting] class situation.” Photographer Brian Dougherty, who is well known for his headshots of area talent, says that he’s never seen a legitimate talent agency advertise in the newspaper. “They usually have more talent than they can find work for,” he explains. Executive Producer John McCorkle, of Fireside Productions, says that the vast majority of work cast in Atlanta is done through talent agents arranging for their talent to audition before casting directors. If a newspaper ad is legitimate, it wouldn’t be for a speaking part, but more likely a call for extras in a crowd scene. “The only way you’ll know if it’s a scam or not,” McCorkle explains, “is to



Agents can't represent talent without a good headshot. That's the most important marketing tool they have.” ~Brian Dougherty

call the number and see who you get on the other end. If that person is a legitimate talent agent, or casting director, they put that ad in the paper to find 3,000 people to fill up a stadium for a shot.” It’s important to understand the difference between a talent agent and a casting director. According to Annette Stilwell, of Stilwell Casting, an agent represents the actor/ actress, and “they try to market the person and sell them to the casting director, saying they’re right for the role.” A casting director is hired by the ad agency or production company behind the project. The casting director calls talent agents to let them know about projects, describes roles that are being cast, and asks them to suggest talent and submit photos and resumes. “I choose which ones to bring in for an audition,” Stilwell says. She usually brings talent into her office and has them videotaped doing a reading. This videotape is then submitted to the director and/or ad agency, who cuts the list down to two or three candidates, who then are brought in for a live reading. Agents say that experience, a resume, and a good headshot are the basic components needed by people trying to break into the business. A prospective talent should get together a resume and headshot and send it to an agent. If there is any interest, the agent will make a point of getting in touch. The headshot is one of the agent’s prime tools. “It’s the cornerstone of what they need to get started,” says Dougherty. “Agents can’t represent talent without a good headshot. That’s the most important marketing tool they have.”


Agents will recommend two or three photographers to an actor or actress, and suggest they seek out a photographer who specializes in headshots rather than a business that sells “glamour” photos, or a general portrait studio. An 8 x 10 inch color photo is the industry standard. The price range for such a photo runs about $125 to $200, most of which is a session fee. Women’s makeup and hair is not included in this fee, and runs an additional $65 to $85. At a session, a photographer will shoot two rolls of film and provide the talent with a contact sheet. Photographers suggest that the subject choose a particular photo after conferring with an agent, and after that pick is made, the subject receives an 8x10 print, which costs about $15 to $20. That print is sent to a duplication company, and the talent receives 500 copies for between $80 to $120.* Due to it’s importance, it is necessary to know what makes a “good” one. In general, the subject should be smiling and showing teeth. Dougherty believes that a “commercial headshot” photo should be “nice, warm, friendly and simple, real approachable.” Photographer Michael Holland, another headshot specialist, says, “It should look like the person. If he were to walk in off the street, he should look no different.” Even so, Holland believes that a good headshot needs to convey a certain magic about the subject. “Anyone can smile for the camera on cue,” he says, “but there’s an additional emotional content in a good headshot. There should be a certain spark in the eyes. It’s the most important visual aid you have. It helps you to get remembered and to get work.” For someone breaking into the market, this headshot should suffice for a year or two. Photographers suggest that a new one be taken when the talent changes his or her look, such as growing or shaving-off facial hair for a *Editor’s note: This article is from 1999 so your mileage may vary.



male, or a change in hairstyle for a female. After gaining some experience, if the actor/actress is interested in pursuing film roles, photographers suggest that they shoot a second, more “dramatic” photo. Rather than the smiling face of the commercial photo, Holland says this dramatic photo “shows more depth. It allows the talent to show who they are.” This second shot can be a three-quarters body photo, an image that the photographers say is very popular in New York and Los Angeles, and is starting to catch on here. Both Dougherty and Holland stress that unless the person is interested in pursuing fashion or print work, these two pictures are all that’s necessary to get started as an actor. Holland says that he doesn’t shoot composites for absolute beginners, and warns aspiring actors/actresses to be wary of a photographer who offers a complete package of photos. He says he only shoots such packages for “somebody who comes to me for that kind of product because they’ve been around, and know what they want.” The resume is the agent’s other important marketing tool. The resume, doesn’t have to be detailed, but should be a basic overview of what you’ve done so that agents and others can see the skill level. Kelly Kelly, formerly an Associate Agent at Atlanta Models & Talent, suggests that a resume be updated about every six months, “depending on how much work they get.” The one-page resume should contain four main areas: basic statistics including height, weight, hair color, eye color, and possibly shoe size or dress size; experience; classes or workshops the actor has taken; and interests and special skills, such as roller-skating, horseback riding, sports, or musical instruments played. Although people have a tendency to embellish their resumes, agents advise people to be straightforward and honest. If you lie on your resume, or put something on there you didn’t do, sooner or later, it’s going to come back and bite you. If you put something on the resume that’s not true, you may be reading some day for a film, and the person auditioning may be the one who cast that show, or commercial. When filling out the experience section, put down the name of the film or project, the character played, and the name of the director of the film or television program, or the production company for commercials and industrials. Tony Brown, formerly with The Houghton Agency, says that any extra work should be included on the resume. “If you’re working steadily and you’re any good at all,” he explains, “you should get enough credits on there so you can get the extras credits off.” Brown is also a strong proponent of putting theater work on the resume. “It demonstrates you’re dedicated to your craft,” he explains, “that you’re paying your dues, and that you’re learning how to be an actor, not just a performer.” Agents stress that theater work is important, and director Bill VanDerKloot says that he tries to attend as much local theater as possible, to get an idea of the talent in the market. In addition to performing, industry professionals say that the classes and workshops that an aspiring actor/actress take can also influence whether or


not they get called for an audition. When exploring a possible class or acting coach, Chris Coleman, artistic director of the Actor’s Express, says “Talk to the people that studied there and see what they got out of it, did they get concrete tools they could use and apply?” He suggests talking to two or three people who have taken the class before making any decision. If an agent, however, suggests that an actor take a particular class, you should be wary. If they encourage you to get classes through them, you’d be better off running for the door. Instead, investigate classes offered by theaters allied with Actors Equity, and look at the credentials of the person teaching the class. Know if it’s someone working in the market, who is doing commercials or theater. When checking out a school, Bielowicz says “You should do the same thing you’d do if you were buying a car, call to see if there are any complaints registered with the Better Business Bureau, the Governor’s Office on Consumer Affairs, or the county solicitor’s office. Look for people you need more than they need you. They don’t need you as a student, it’s just the reverse.” Perhaps no people are as open to scams as parents who are convinced that their child is the next Shirley Temple, or Macaulay Culkin. The same common sense precautions need to be used with children as with adults. But very often, all a parent has to hear is that their child has the potential to be a star, and they throw all sensibility out the window. Before a parent even considers taking their child to an agent, it’s recommended that they observe several criteria. Even though they think their son or daughter is the most beautiful child in the world, if total strangers come up to them and affirm that opinion, then their child probably has a shot. Rebecca Shrager, president of The People Store talent agency, says that when she considers a child as a client, she tries to determine whose idea it is for the child to perform. “I look for parents who say ‘My kid is really bugging me to do this’, where the kid is more motivated than the parent.” Kelly agrees that the child’s motivation is key. “I make sure the child is doing it because they want to do it, not because the parents are telling them to do it. If the parents are overbearing, it’s not healthy for the child.” She stresses that it can be tougher on a child. “There are a lot of kids who burn out if they get too many rejections,” she says. “It can be very hard on them.” A lack of experience need not be a roadblock to a child who wants to be in commercials or movies. “Sometimes with kids,” Shrager explains, “it’s a matter of giving them a shot. We will give them an opportunity to audition for something to see how they can do.” The child’s personality is another important factor that influences their performance. Pay attention to how they interact when introduced to a stranger. The child should be open, with a gregarious personality, who is not shy, and not afraid of the camera. Their mom will not be on the set with them, so they need to be comfortable taking direction from total strangers. If they’re not able to do that, don’t pursue it.

Young Stars



Parents are most susceptible to scams involving photos of their child. Agents advise that because children’s looks change so rapidly, a professional headshot might be outdated within a matter of weeks. Instead, they say that a recent snapshot will do. When it comes to casting children, Stilwell says that she’s “happy with a Polaroid. I’d rather see something that shows what they look like right now.” Once a talent is signed to an agent, the standard fee for getting the actor/actress work is 10 percent. SAG/ AFTRA contracts mandate this sum for any work done under the auspices of the union. For print work, an agent may take a 15 percent commission. If any agent has a talent sign a contract for a larger percentage, or the space for the commission is left blank, the prospective talent is advised to walk away as quickly as possible.

The talent should keep in touch with the agent on a steady basis. Most agents recommend a call or note every week or two, to keep the agent updated on activities and to get the talent’s name known around the agency. The talent, however, shouldn’t call too often. They should try to check in with them once or twice a month, usually in the morning when things are not quite as busy. They should stay in touch without becoming a pest. It otherwise prevents the agent from making the necessary calls to find work for that talent. More than anything, an aspiring actor/actress needs to understand what their relationship is with their agent. “It’s not my job to make you a star,” says Tanner. “It’s not my job to get you work, it’s your job. I work with you, and I’ll do everything I can to help you, but I can’t make people hire you. I cannot make your life wonderful. That’s the actor’s responsibility. The way you get work is by acting well. If you are a good actor, someone will see your work and find you.”


Audition Authenticity Online ads for talent auditions sound so promising. Hopefuls are lured in with guarantees of immediate bookings for all ages, sizes and ethnicities. What’s missing from this promise of stardom is details—no names of projects, production companies, or even an email address. Advertisements for casting that appear on classified ads, websites, Craigslist or in newspapers are often not legitimate. Here are some tips from industry insiders on how to spot the fakes:


Don’t pay to play. Actors don’t pay

for legitimate auditions, but a fake casting company may require an upfront registration fee. It may even promise inclusion in an industry database, but the database is likely as phony as the audition. Casting for acting roles starts with an actor’s agent sending the talent to a casting director to audition for a specific part in an upcoming production. An agency is paid if an actor is booked for a job. A reputable agency will not force you to use their photographer for headshots or have you sign up for expensive classes or workshops to get an audition.


Check the story. Just because a so-

called casting company claims to be working for a legitimate network or production group doesn’t mean it’s true. The “new show” scam is often used by the unscrupulous. 3.

Get to Googling. Search the name of

the company and find out if it has an online presence and if it lists any specifics about auditions. If it’s a scam, chances are there will be red flags.

On occasion, production companies will run advertisements when they are looking for a large pool of extras—think hundreds or thousands of people—for crowd scenes such as those being shot in a sports stadium. But those are not roles that require auditions.



It’s not my job to make you a star. It’s not my job to get you work, it’s your job. I work with you, and I’ll do everything I can to help you, but I can’t make people hire you. I cannot make your life wonderful. That’s the actor’s responsibility. The way you get work is by acting well. If you are a good actor, someone will see your work and find you.” ~Kay Tanner






Tips from the Voice of Siri By Susan Bennett

I broke into the business many years ago, and the process has changed . . . a lot! Here are my suggestions for how to go about pursuing a career in voiceover (VO) now:

Susan Bennett recording in studio.

Reading Skills are essential, and taking any kind of acting class or voice coaching would be beneficial. There are two types of VO performances: announcers (commercial tags, news, messaging); and actors, who tell the story in commercials, etc. Any kind of reading practice will be helpful, so read as much as you can, and record yourself if possible. That should give you a sense of whether VO is something you should try to pursue. Taking an improv class would help in every way, because VO is basically acting for the voice, and learning to think on your feet will help you in any situation, whether you pursue a career in voiceover or something else entirely!


Find a Local Voice Coach. Look on the web, call recording studios, and/or talent agents to find one who’s right for you and can help you put together a demo, a :60 mp3. Many of you have said you’d like to be a cartoon, but instead start with a demo of you, as you . . . your voice print, as it were. Make a commercial demo first, then branch out into character voices, IVR, narration, etc.


Auditions are the way you get work! Almost all VO work today is cast through auditions, so it’s important for you to get comfortable with that. You can sign onto VO websites like Voice123 and Voices.com. You’ll receive tons of auditions, so you can practice. You might also consider reading for the blind, or doing other volunteer projects for which you can utilize your voice and reading skills.


Professional Sound. This can be tough if you’re a novice, but look on the web for inexpensive equipment. It’s important that you sound professional, which means you need a good mic at the very least. Actually, you can do a lot with your smartphone, MixerFace (a recording interface for smartphones), and a good microphone.


Use the Web. Today’s trend in VO is to sound natural. Even announcers today are often asked to sound less announcery! Use the web to help you. Practice with different commercials, and take advantage of the many coaching and instructional videos out there.


Remember that VO is a skill! It’s not enough just to have a good voice. You have to learn the tricks of the trade so you can be confident when you start to compete for VO work. Check out Dee Bradley Baker’s site, www.IWantToBeAVoiceActor.com as well. He’s got a lot of good advice for all levels of VO experience.

Good luck! A career in voiceovers is a lot of fun! SEPTEMBER / OCTOBER 2015



Ready, Set, Arrrfff! Getting Your Animal in Front of the Camera

Greg Tresan with Lion & Bright from The Originals.

By Amy Allyn Swann

The explosion of television and film productions in Georgia and the Southeast means there’s more work for talent now than ever before. And not just talent of the human kind. Animal actors, trainers, and wranglers are in demand, but getting booked for a production is not as simple as having adorable dogs or beautiful horses.

If an animal is well trained, we take them the rest of the way.” ~Greg Tresan



Is Fido Ready for His Close-Up? Production companies need wranglers who work with trained animals. Many trainers and wranglers have their own animals, whether it’s dogs, horses, birds or even more exotic animals. But there are ways to break into the business if you have an exceptional animal. “We scout for animals,” says Greg Tresan, a professional animal trainer and animal coordinator for Animal Casting Atlanta, based in Ball Ground, Georgia. Tresan has more than 30 years of experience training dogs, and his wife, Carol Tresan, is an equestrian expert who competes nationally in several equestrian disciplines. The Tresans have worked with all five seasons of AMC’s The Walking Dead and have provided animals for The Hunger Games: Mockingjay 1 and 2. Tresan says that when a production company calls for animal talent, he analyzes what the animal will be tasked to do. He often has to search for a specific breed, and that’s where his scouting expeditions come into play. He goes to dog shows and other competitive events to find animals that will fill the bill for a specific part. “If an animal is well trained, we take them the rest of the way.” That’s also the philosophy of Renee deRossett of AnimalsOnSet.com, who operates out of Savannah. She is always on the lookout for trained dogs and maintains a database of thousands of contacts. She also goes to events, including animal fundraisers, where people are out with their pets. “I’ll even stop people on the street and ask if I can

take a picture of their dog,” she says. She’ll then ask the owners to email her other photos and specifics about the animal. “Mainly when I need an animal, I’ll ask the owner, ‘Can your dog sit and stay and wait for a break command?’” But it can be tough work for an animal, notes Joan Lask, owner of Jo-Thor’s Dog Trainers’ Academy in Alpharetta. “It’s not that glorious having your dog in a film.” Dogs need to be off-leash trained and be able to maintain a down-stay and a sit-stay for extended periods. During filming, you can’t give verbal commands to the animal so they also need to understand hand signals. She echoes Tresan’s advice: “If people really want to get into film, give me a call and let’s get that dog trained.”

Greg & Carol with daughter Devon and Bubbles.

It’s All about Preparation Once you and your animal get a good reputation with production companies, more work will likely come your way, says Ed Dabney, owner of Ed Dabney Gentle Horsemanship out of Monroe, Georgia. “I want to be easy to get along with,” he explains. “I don’t want to be demanding. I want to work things out.” For Dabney, that starts with fully committing to the production and doing everything possible to have the horses ready for the daily demands of filming. “Do your homework, and study the scenes,” he recommends. He is currently working as the head wrangler for the Fox TV series Sleepy Hollow. The series often has battle scenes, and he desensitizes his horses by training them with firecrackers

Carol Lane Tresan with Zen from Insurgent.

to simulate the noise from a battle scene. He also brings the gear for his horses, selecting authentic saddles for the period. In Sleepy Hollow, many of the battle scenes are set in the time of America’s Revolution. “The more prepared you can be, the more [production] likes you,” he points out. He also comes ready if one of the lead actors will be on horseback for extended periods of time. “I was on a set and previous wrangler would say, ‘We can run this five times and that’s it. I’m taking the horses away.’” So Dabney brings two horses that could be used by the actor. “You switch out the other horse. You work things out on your end.” Tommie Turvey, a horse trainer and equestrian performer, echoes Dabney’s philosophy. “You have to be really good at what you do. The business is not one

The more prepared you can be, the more [production] likes you...” ~Ed Dabney

Ed Dabney with Du Noir. Ed Dabney with Frreddy on Penny from Sleepy Hollow.

Ed Dabney with Accolade behind the scene on Sleepy Hollow.



You may be a really good horse trainer, but you need to learn the industry...”

Tommie Turvey & Blade.

~Tommie Turvey

Tommie Turvey & Blade on the set of The Walking Dead.

Tommie Turvey & Joker.



where a horse enthusiast with one or two animals can start booking jobs. It is a much more complex endeavor.” Turvey, who has a training facility in Summerville, Georgia, has been working with horses since he was a child, when he would ride green horses bareback in auction rings. He graduated to riding in live shows, and throughout it all, he learned the intricacies of training horses from some of the best in the business. He points out that a horse can be well trained, but what they master in a familiar environment can be difficult to duplicate when they are surrounded by cameras and lighting crews. “Animals need to be trained for anything,” he says. “If you get hired to do something, you better be able to do it.” Each production has its own needs, so after reading the script, Turvey begins to parse out the particulars of the job. “Does the animal need training with a smoke machine? Will it be walking on concrete or is there a railroad track?” “You may be a really good horse trainer, but you need to learn the industry,” Turvey recommends. An

internship with a trainer who does production work is a great place to start. Turvey offers 90-day programs at his facility. But even after that, you still have to hustle to get the jobs. “I know guys at 80 who are still hustling in this business!”

Getting Started For those interested in becoming an animal wrangler, Dabney says it’s best to start at the bottom and work your way up. Dabney has worked with horses all of his life, beginning as a child on his father’s Tennessee farm. He also worked out West in Montana and Wyoming training horses on several large ranches. “Working for a wrangler is a good way to start,” he says. “I have several employees that may be my future competition.” A social media presence is also important. All of the animal trainers and wranglers interviewed for this article have websites explaining the scope of their services, and most have Facebook pages. Tresan uses his Facebook page to post casting calls for specific breeds of dogs. Most recently, he was looking for

I know guys at 80 who are still hustling in this business!” ~Tommie Turvey

Renee DeRossett & Marty.

Sindy Moon of Moon Landing Dove Release

a red bone coon hound. Owners of that breed were asked to email photos and contact information. In addition to an internet presence, Sindy Moon of Moon Landing Dove Release recommends marketing your services in an industry sourcebook, such as the Georgia Film & Television SourceBook. Moon handles the marketing for Moon Landing Dove Release. Her husband Reggie Moon trains and cares for the birds — which are actually white homing pigeons. The bulk of their business stems from weddings and funerals, but as their reputation spreads, production companies have come calling. Based in Locust Grove, Georgia, they have worked with several productions. One released birds as a background for a barn

Renee DeRossett & Baylee.

Renee DeRossett & Donald.

shot; another filmed some of their birds in cages. She says that she and her husband got into the business because of his passion for the birds. While she works as the point of contact with the production companies, she notes that “my husband really wants to make sure he is taking care of his animals.” She ensures they communicate with the production company to understand what they need and if the task is something their birds can do. She emphasizes, “You have to be professional and respectful [of the production’s] desires.” Professional. Respectful. Wellprepared, well-trained. That’s how you build a reputation in the animal talent business.

Professional. Respectful. Well-prepared, welltrained. That’s how you build a reputation in the animal talent business.




Cushy Landings A Conversation with Shelby Swatek By Lindsey Shamblen

Stunt performers are the often overlooked villains or heroes of the silver screen. These dedicated professionals perform gravity-defying stunts, engage in carefully choreographed fight scenes and maneuver vehicles in ways that seem unimaginable.

The men and women who perform stunts are intelligent, intuitive and hard working. Stunt performers’ backgrounds are just as diverse as actors’ and directors’. 86


Breaking into the business as a stuntman or stuntwoman is sometimes cumbersome—it requires dedication and tenacity, which is something Shelby Swatek of L.A. Stunts, LLC, knows all about. With more than 25 years in the film industry under her belt, Swatek has worked as a stuntwoman in actionpacked films such as Passenger 57, The Replacement Killers and Terminator Salvation. A long conversation with Swatek revealed that the world of stunts and the people who perform them is as fascinating as one would expect. Until the 1960s, when the stunt industry began to organize professionally, stunts were performed mainly by those with backgrounds in the circus or rodeo. Today’s stuntmen and stuntwomen come from all walks of life, including military and athletic backgrounds. Swatek stresses the fact that the men and women who perform stunts are intelligent, intuitive and hard working. Stunt performers’ backgrounds are just as diverse as actors’ and directors’. There’s a common misconception, though, and it’s that stunt training is free. It’s not. This myth is rooted in history. Stuntmen and stuntwomen once learned trade secrets from family members, and in the early days of film, talented clans largely monopolized stunt work. Now that films are shot all over the United States and abroad, the need for local talent has led to formalized stunt training.

A Special Set of Skills While many with athletic, law enforcement and military backgrounds can draw on life experience and carry that into film, formal training is important. Breaking down the steps required in everything from high falls to basic fight choreography requires a razor sharp attention to detail. This is why Swatek and co-founder Michael Long of L.A. Stunts emphasize form and technique, especially when training on the fundamentals, which are the building blocks to more complicated work. When it comes to training, Swatek emphasizes that budding stunt performers check their instructor’s credentials. As with any industry, people can make grandiose claims—especially in areas where the film industry is growing rapidly, like Georgia or New Mexico. She recommends checking for credits on IMDb.com, asking for references and requesting to see demo reels from stunt schools before committing time and money to training. It doesn’t hurt to inquire about SAG membership and class sizes either. Generally, smaller class sizes yield more personalized attention from instructors, which in turn can make training much more effective. Personalized attention and hands-on time with instructors can help sharpen mechanics, improve form and lay a strong foundation that performers can build on incrementally.

You won’t last long if you don’t have a really good head on your shoulders. Things change fast, and you have to be able to think on your feet to keep yourself and others safe.



Brawn and Brains Beyond the physical elements of training, integrity and mental fortitude matter. “You won’t last long if you don’t have a really good head on your shoulders. Things change fast, and you have to be able to think on your feet to keep yourself and others safe,” says Swatek. Interestingly, set etiquette matters more than some newcomers think. A ringing cell phone can affect the entire production. Understanding all the moving parts of a set atmosphere is so important. In addition to the physical mechanics of a scene, stuntmen and stuntwomen need to tap into the unique features of each situation. This is especially true in fight scenes. Sometimes stunt performers get caught up in the intricate choreography, but understanding the scene is helpful. “Every fight is different. Every fight is a story . . . There’s a reason why it started and there’s a reason why it ended,” Swatek explains.

Actors Train in Stunts, Too Formal stunt training is a good thing for actors as well. Stunt training can increase an actor’s versatility. Producers tend to prefer that actors be able to do some of their own stunts as a cost-saving measure while directors enjoy the realism that stunt-trained

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Every fight is different. Every fight is a story . . . There’s a reason why it started and there’s a reason why it ended.”


actors lend to the performance. When actors perform stunts, directors can shoot close up and from various angles. As actors embrace stunt work, stunt performers embrace acting for many of the same reasons. In Drive Angry, starring Nicolas Cage, Swatek utilized her theater background as well as her fierce driving skills in a high-speed chase scene.

Camaraderie Off Camera While the film industry is notoriously competitive, as an instructor, Swatek sees the softer side of the business. In training and on set, stuntmen and stuntwomen are often like family. While hitting the ground might sting, camaraderie among professionals softens the blow. Breaking into the business might be hard and the stunts may be even harder, but the work is fun and rewarding. With a good attitude, commitment and dedication to training, stunt work can be a reliable ticket to a career in film, especially in locations like Georgia where competition is not as stiff.




So You Want to Be in The Movies... Then You’ll Want to Have a Resume... By Jake Shiptenko

If you are reading this, you probably have a dream of becoming a movie star. Your first step to stardom is getting a professional headshot and a resume put together.



Your name, phone number and e-mail address should be at the top. Under that, your resume should be created with three columns that list your experience in film, television, theater and commercials. Each row through the three columns is for a specific project. The far left column should have the name or title of the project. The middle column indicates the role you played on the project such as; recurring, guest star, lead, supporting, series regular, and extra. In the right hand column list for whom you worked; the name of the production company or studio. Make sure your resume is trimmed to standard 8 x 10 size. A professional headshot is an opportunity to advertise yourself. The headshot should be 8 x 10 and color. Various sizes or black and white are usually discouraged. Do not put your age on it; let them decide what age you should play. Hire a professional photographer to take your headshot. A good one will know what casting professionals are looking for. Once everything is finalized, attach your resume on the back of your headshot, get out there and break a leg!




The Child Actor By Jake Shiptenko

Does your kid have what it takes to be a child actor? Casting directors are usually looking for kids with a confident personality and a unique look. Freckles, glasses, braces or anything about them that stands out may actually help your child get jobs.

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I like to see children with a lot of energy, but who also know how to be still and listen.”


Milo Porter

There are a few things you can look for when deciding if your child has any acting talent. For example, how well does your child fake crying? Is she an extrovert? How well does he take directions? Fake crying shows that your child is able to express emotion fairly easily, and it shows the ability to be convincing. Being an extrovert shows that a child is comfortable with attention, and that will help because the less pressure they feel, the better they can act in an audition and on set. Finally, direction taking is important . . . if chosen for a production, the child will be taking directions constantly. No one wants to see a kid with a sour attitude; it can slow down production and disrupt the flow. Another thing to consider is if you and your child really want to live the life that may come with struggling to be a child actor. It doesn’t happen overnight. Modeling jobs could be the first jobs they get, which may help them get noticed in the industry. If your child becomes successful, they will miss out on things like birthday parties, sporting events, school, or many other things kids do. Make sure your child understands this and is willing to sacrifice some things to pursue their dream . . . emphasis on their dream. Remember: this is about them, not you. Make sure you have their best interests in mind whenever you and the child are making a decision. With all that said, if acting is your child’s true passion, all of this “work” will seem fun. Have a conversation with your child, and see if he or she is ready.

Interview with Barbara Garvey Owner/Agent at East Coast Talent

What type of qualities make a good child actor? Children who can read and who read a lot make the best actors, in my opinion. It makes everything a lot easier if the child can read and understand his script without a lot of help from an adult having to feed lines. It also gives them a larger worldview when they explore other worlds through books, and helps to develop their imaginations. Other key elements are children who can listen and follow directions-- and who have parents who stay in the background, ready to support their child, but who don’t get in the way!

How do you choose if you’ll represent a child or not? There are numerous things that I look for-- mainly I am looking for children who really enjoy being on camera, who aren’t being pushed and prompted to talk to the camera (or to me) by their parents. I like to see children with a lot of energy, but who also know how to be still and listen. Formal training is not something I’m looking for in the children under about seven-eight years old. I’m looking for that spark and the enthusiasm to

Milo Porter

an adult, the competition is fierce for each and every role-- even for oneliners. And, no matter how busy an actor is, he’s always worried about his next role. You can work three months on a major feature film, in a major role with major names, and then not book anything for six months.

Is it easier being a boy or being a girl trying to get work as a child? It’s no secret that the majority of roles are for males, whether it’s for kids or adults. I assume that the reason is that there are far more male writers, more male directors and male producers. Sure, there are female-dominated shows, but I’m talking about the mainstream here. And, we get probably ten times more female than male submissions. You do the math- more roles for males, less males in competition.

How is the child’s money handled?

try new things. Another really big plus for actors of all ages is what skills they can master. There are always calls for kids who can ride bikes, skateboard, are comfortable on horses, etc.

Do younger children get more jobs than older children? I don’t know about that. It depends on the child, I guess I would say that the sweet spot seems to be around 8-10 years old. Of course, one of the best ages to be is 18 TPY which stands for to play younger. As a minor, you cost production more money because you can work less hours, have to provide for a parent or guardian, etc. If you can play younger and are over 18, you’re a better bargain in many ways!

Have your represented anyone famous? I have represented several very successful kids and adults. Currently, my most famous kid is probably

Chandler Riggs, who plays Carl on the hit AMC show, The Walking Dead. He’s been with the agency since it started and has grown into quite a well known actor. He’s not only talented and downright adorable, but he’s got great parents who know how to keep it real with their children! I’ve got several clients who are starring in studio films, though I don’t think they are famous at this point. That’s really not a term that I use a lot. We’re really not an agency that encourages fame (like with some reality shows). I represent professional actors who work on professional projects. It’s all about the work, not the fame.

How often does a child get offered a role in a movie or TV series? There is no right answer. We have kids and adults booking roles every week. There are a few who are booking regularly, but the reality is that, like all actors, the majority are not booking all the time. Whether you are a kid or

We are in a right to work state, so union rules don’t apply where all kids must have a Coogan account (blocked trust). However, many of our productions have tried to initiate this and we’re always amenable to having parents set them up. But that just covers a small percentage of their paycheck. As an agency, we treat minors the same as our adults. They get their checks made out to them and we send them their tax information at the end of the year. It’s up to their parents to decide how that money is spent.

I represent professional actors who work on professional projects. It’s all about the work, not the fame.” SEPTEMBER / OCTOBER 2015



Is That You? Find Yourself on The Big Screen By Jake Shiptenko

Brad Pitt. Kevin Spacey. Paul Rudd. Meryl Streep. Who is that standing behind them? It’s the extras. They walk around in the street, stand in a locker room, or maybe even sit in a waiting room. But how do you become an extra?

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A good reputation can get you far in this business, and a bad one can ruin you.”


The first step to becoming an extra is to sign up with local extras casting agencies, which may entail a small fee. Most extras casting agencies will post extra opportunities on their website. Extras normally work around 12 hours each day, but it is not unheard of to work up to 18 hours. You will get paid minimum wage or a day rate. On your first day, check-in with the PA or in some cases a casting person. They could very well be the people who have a headset on with a clipboard yelling instructions to people. When you check-in, you will fill out a voucher. You will most likely be filling out a nonunion voucher because you are not part of the unions representing talent, or at least not yet. You may be given instructions on what to wear for your first day. Wardrobe will make sure you are dressed in the appropriate clothes, or they will dress you with appropriate clothes. Do not do anything to damage your costume; any cleaning or repair cost could be deducted from your pay. Next, you will go into a waiting area until your group is called for your scene. When you are called on for your scene, choose one constant action to do for the scene. Make sure you repeat it the same way until they change the scene. At the end of the day, make sure you are dismissed by the background PA. Bring your voucher to the person that checked you in, and they’ll sign you out and write down the time of your departure. They will make a copy of the voucher and keep one copy of it; the other copy goes to you.

A good reputation can get you far in this business, and a bad one can ruin you. To get a good reputation, make sure you are always on time and very attentive when you are given instructions. You don’t stand out by doing better than what is expected; you stand out when the other extras fail to do what’s expected. Always keep a low profile. Don’t get star-struck if you see a celebrity walking by or if a director addresses you directly . . . if that happens, you’re probably already in trouble. During the downtimes on set, have something to do. Some productions will allow you to bring your phone; others may not. A tablet would be a great way to pass time by playing a game or reading. A book is another option that allows you to keep quiet and to yourself. Snacks are provided but it is a smart thing to bring your own snack if you have dietary needs, extras eat last. Be sure to put all your devices on vibrate and stay quiet. Being an extra can be fun and exciting; definitely more so than a boring 9-to-5 job in an office. Although all that work and those long days can tire you out, the most important thing to remember is to have a smile on your face at all times. A positive attitude can really help you out. Maybe you’ll get selected for a more prominent role such as Woman Reading on Bench #2 rather than the girl standing in a crowd in the distance.

The first step is to contact an agency, here is a list of some of the extra casting agencies, casting calls and casting resources in Atlanta: Oz options • • • •

www.ozmagazine.com instagram.com/ozmagazine www.facebook.com/OzMagazine twitter.com/OzPublishing

The Southern Casting Call www.thesoutherncastingcall.com/ category/casting-calls/georgia

Project Casting www.projectcasting.com/category/ casting-calls-acting-auditions

Other options

NOTE: The union for on-screen principal actors is the Screen Actors Guild American Federation of Television and Radio Artists, or SAG-AFTRA for short. SAG-AFTRA also has jurisdiction over background actors, commonly referred to as extras, in some national markets, but not all. For Georgia, SAGAFTRA background actors are only covered on commercial and corporate non-broadcast productions.

2015 Auditions www.2015auditions.com/state/ georgia

Tammy Smith Casting www.facebook.com/ tammysmithcasting

Auditions Free www.auditionsfree.com/tag/atlanta

Casting Call Hub www.castingcallhub.com/auditions/ georgia

Catrett Locke Casting www.facebook.com/ CatrettLockeCasting

Cast in GA castingga.com/castingcall.html

New Life Casting www.facebook.com/ NewLifeCasting

Extras Casting Atlanta www.facebook.com/ ExtrasCastingAtlanta

AJC buzz.blog.ajc.com

Lead Casting Call www.leadcastingcall.com/atlantacasting-calls-and-auditions

800 Casting www.800casting.com (membership only)

Love2act love2act.com/new/ auditions-b328_0.html

Backstage www.backstage.com/casting/opencasting-calls/atlanta-auditions (membership only)

IMDB Pro pro-labs.imdb.com (membership only)

Fox5 Atlanta www.fox5atlanta.com (Weekly casting calls but you need to search for it on the site)

New Faces www.newfaces.com/casting-calls. php

New Life Casting newlifecasting.com




Nail Your Audition and Get The Big Part So, you’ve got your heart set on the big role, the one that’s going to change things. You’ve paid your dues and started from the bottom, with Diner Patron #2 credits to prove it. For those starting off in the acting business, making the leap from background to close-up can seem impossible. There isn’t much of a roadmap for the long, winding path to stardom. For any given role, you might be up against hundreds, even thousands of other starting artists, each hungry for their own big break. With a crowd that big, it isn’t easy to stand out. Here are some suggestions from Atlanta’s top casting directors on getting the part.

By Jesse Brooks

Get Out There

If you can show intensity, believability, and simplicity, all at once, you’re bound to stand out.” ~Cheryl Louden-Kubin



Once you’ve put the right tools in your belt, search for casting calls. Submit, submit, submit. Make sure your resume points out the training you’ve received, the film projects, and the theater you’ve been involved in. When you get the audition, be prepared! “Do your homework,” says Louden-Kubin. “Are there lines? Is it an improvisation?” Learn who you are and where you are, and then make your choices. And of course, be open to direction. If you can show intensity, believability, and simplicity, all at once, you’re bound to stand out. The type of audition you get will depend on the type of production. “For film, there is a lot of self-taping,” says Louden-Kubin. This means you’ll be asked to step in front of a camera, record your audition yourself, and email it to the casting director. If this is the case, make

Shay Bentley Griffin Chez Group www.chezgroup.com I prefer to audition actors in person. I only go to self tape if time does not permit the actors availability during audition schedule. We expect actors to be prepared to film. You need to have respect for other actors, and patience with the process. No excuses on this. Be in control and trust your work!

“ Jessica Fox-Thigpen Fox Casting www.foxcasting.com

In my auditions, I’m not concerned with getting each word on the script perfectly. I want to really see the character and that the goal in that particular scene is accomplished. Keep your eyes off the script as much as possible. Never give excuses for a bad read. If you want to do it again, ask if you can do it again. If this happens again in the session, then you’re probably not ready and need to come back more prepared. Never tell the casting director this is your first time auditioning! What you’re doing is preparing us that you aren’t going to be as good as someone who’s done this before. No matter what, enjoy yourself! Happiness and joy is infectious. Self-tapes are becoming more and more common as a part of the casting process. Read each audition’s instructions carefully. What one casting director requires will not always be the same as the next. If you’re even in doubt, have your agent ask.

Take your time, record multiple takes, and rehearse between scenes. Above anything else there is no substitute for proper preparation. Learn your lines.” ~Joseph Pearlman

sure your video is up to snuff. In a 2013 editorial for backstage, Hollywood acting coach Joseph Pearlman laid out the essentials: be well-lit, be audible, and frame yourself correctly. “We’re dealing with industry professionals with extremely demanding jobs,” Pearlman explains. “If they click on your footage, and the sound is too low or they can’t see you well ... they might just as likely click to the footage of the next actor.” Keep the camera focused on your face, in a medium, waist-up shot. Get someone behind the camera who knows what they’re doing. Having said that, keep it simple with a pale, plain backdrop. Take down any decorations, and resist the urge to shoot on location in a setting similar to your audition scene. Say no to props. Don’t let your cameraman move the camera. As Pearlman puts it, “Chances are, it will just look off-putting and clumsy.” Keep the focus on your performance. Take your time, record multiple takes, and rehearse between

If they click on your footage, and the sound is too low or they can’t see you well ... they might just as likely click to the footage of the next actor.”

scenes. Above anything else there is no substitute for proper preparation. Learn your lines. Bring in another actor to help read with you. They stand off camera. It helps if they are the correct gender for their role, but it’s not crucial. Make sure you are looking at them and playing off of them. Give yourself three or four takes to really nail the scene, but don’t get too picky. Remember, if this goes well, you are going to have to do it again in front of a human. After you’ve read the scene, stand in front of the camera and record a brief full-body shot, for the sake of shape and size. Once you’re all done, tidy it up with some minimal editing. Again … let this be your mantra … keep it simple. Load up your editing software such as: Adobe Premiere, iMovie or Windows Movie Maker. Add a brief title card to the beginning of the clip, with your name, the name of your agent (if you have one), and the role/production you are auditioning/reading for. Fade in and out between scenes and titles. Place the body shot at the very end. For delivery, follow all instructions stated in the casting call. As silly as it is, this could make or break you. You will likely either upload to a streaming site like YouTube or Vimeo, or file share via YouSendIt, WeTransfer or Dropbox, so the casting director can directly download your clip. If you are auditioning for a commercial or theater role, you will probably meet your casting director in person. When you do, do not blow it by making too much chit-chat. You are there to prove your skill, not make friends. If you can pinpoint your character’s emotional and physical objectives, and then channel them through your actions, you will have

~Joseph Pearlman



Cynthia Stillwell Cynthia Stillwell Casting www.stillwell-lester.com

I always prefer actors who have worked in the theater. Actors who are organic, who can BE instead of act. (downfall) Too much talking and trying to be a friend can be a real turn-off.

Heather Hylton Bivens Hylton Casting www.HyltonCasting.com

It is important that an actor comes to an on-camera audition well prepared… has reviewed the material beforehand and understands the requirements of the role being cast. The actor should have a commanding presence, and exudes self-confidence. One should be cognizant that each casting director has a unique persona and approach to the production/work at hand.



If you want the casting director to like you, show you can take direction. Commit to your character, but be flexible and keep yourself open to instruction. a better shot than an actor who only halfway commits.

The Call Back After your audition, the waiting can be daunting. You could get a call in a matter of hours, days, weeks or months … or you could hear nothing. The wait for the callback depends on the production. Sometimes the casting director will know almost instantly whether or not you’re worth calling back for a second look. “I make the decision in the room,” says Casting Director Cynthia Stillwell, adding that she picks only 25 to 30 percent of auditions for a callback. If you make it to audition #2, be ready. Ask for sides, if they are available. If you get them, memorize them! (For the uninitiated—a side is a sample script, prepared for an audition that will serve as a fair indicator of the character or production you are auditioning for. It is not typically taken from the actual production script.) Learn the lines, do your research, and understand who your character is. Make sure you discern your objectives. A lack of preparation will leave you dead in the water. There is no way you are going to retain 100 percent of the script, however, the more you have memorized, the more you can safely forget.

A lack of preparation will leave you dead in the water.

If you want the casting director to like you, show you can take direction. Commit to your character, but be flexible and keep yourself open to instruction. Most importantly: do not vary your style. If the casting director liked you enough to call you back, you had to be doing something right! Something about your take on the character struck a chord. Do not try to show off your range by playing the scene from another angle. Additionally do not change your look. Appearance is key. If you received the callback, you have the look. After the second audition, the process for filling the role can vary wildly. A casting director might consult with a director or producer by sharing your taped interview. You may be compared to another auditioning actor for chemistry. You may also be asked if you are open to playing parts different from the one you auditioned for. (Always say yes.)

You Can’t Always Get What You Want If you don’t get the part, chances are you won’t be notified. Don’t take it personally. “Most times,” Louden-Kubin says, “it has nothing to do with you.” The director wanted to go in a different direction. The casting director owed the other guy’s agent a favor. Your co-star was already cast, and you weren’t a perfect fit for that actor. Maybe you just had a bad audition. Or maybe you have a lot to learn. Essentially, don’t be afraid to learn. Ask questions. Find out what you did wrong. Go back to the casting director and ask for constructive criticism. Casting directors like Cynthia Stillwell are almost always willing to help. The

Andrea Hume Marinella Hume Casting


First and foremost, if you have submitted please answer all unknown numbers. It is very frustrating having to speak to a machine and even worse when you get a recording stating the person’s voicemail is full, or has yet to be set up. Show a separation between your slate and your work. Your slate should be all business this isn’t necessarily true when it comes to your performance

Cheryl Louden-Kubin Atlanta Casting, LLC


Make sure your picture looks like you! Do your homework.... are there lines? Is it an improvisation? Learn who you are, and where you are, and then make your choices. And of course, be open to direction. Shop for agents through SAG/AFTRA where you’ll only find legitimate, vetted representation.

more you know, the better you can be, and the easier you can make their job the next time around. “I am always happy to talk with actors,” says Stillwell, “in order for them to take away what they did [or didn’t do] right.” Louden-Kubin’s advice: “Find something positive you can take from the experience.” You may have done something wrong, but hey—now you know better. Get it right next time, and you’ll be one step closer to landing the role. Don’t get discouraged. You are going to get rejected in this industry. Probably a lot; it happens to everyone. It doesn’t mean you’re not good enough. It just means you were not the right one for the part this time. If you are serious about acting for a living, keep in mind that you’re going to get a thousand no’s, and that’s normal. Even the A-listers get rejected. It just makes the yeses all that sweeter. Which brings us to …

If You Get the Part Congratulations! You’re on your way. Expect a call from the casting director, either to you or your agent, to nail down the specifics. You’ll get your hands on the script, meet with wardrobe, and be thrown headfirst into the production machine. Bask in the glory of your major accomplishment, and then get to work. You have a part to play! Regardless of whether or not you land the role, take this opportunity to better yourself. Learn to be comfortable in front of an audience. Learn to take constructive criticism and to critique yourself. Learn what not to do. Above all else, remember why you’re doing this for a living in the first place: because you love to act! If you didn’t, you wouldn’t be here. You might have to start small, but when you land the big role, all those nameless background parts you took … and all those parts you didn’t get … will have been worth your while. For Further Reading: www.backstage.com. - casting calls, reviews, resources. www.purocasting.com - audition tips and advice. www.sagaftra.org - industry and local union information. www.castingnetworks.com - casting calls. www.800casting.com - casting calls. www.breakdownservices - casting calls.

Brian Beegle Stilwell Casting www.stilwellcasting.com

Actors now have a greater opportunity than ever to build and sustain a career right here in Georgia. The key to being a working actor is not making a hobby out of it, but becoming a master of the craft. An actor should always be studying, and they should be taking the classes that intimidate them, not the ones where they feel comfortable. If they attack their weaknesses, they will become a more rounded actor, and therefore be more versatile to play different roles. A beginning actor should be an extra on sets to get a sense of what filming is really like. It is not looked down upon to be an extra!

Alpha Tyler Alpha Tyler Casting

Make the dialogue conversational. Be present in the moment and you must actively listen. Work on your non verbal communication.



吀栀攀  䤀渀搀甀猀琀爀礀 䰀攀愀搀攀爀  昀漀爀 漀瘀攀爀

䜀攀琀 䰀椀猀琀攀搀 一漀眀 椀渀 䜀攀漀爀最椀愀ᤠ猀 ⌀㄀  刀攀猀漀甀爀挀攀 昀漀爀 䘀椀氀洀 ☀ 吀攀氀攀瘀椀猀椀漀渀 倀爀漀搀甀挀琀椀漀渀

䴀甀猀琀 戀攀 愀 䜀攀漀爀最椀愀 爀攀猀椀搀攀渀琀  愀渀搀 栀愀瘀攀 愀琀 氀攀愀猀琀 漀渀攀  瘀攀爀椀昀椀愀戀氀攀 挀爀攀搀椀琀 椀渀 昀椀氀洀Ⰰ  琀攀氀攀瘀椀猀椀漀渀Ⰰ 挀漀洀洀攀爀挀椀愀氀Ⰰ 椀渀搀椀攀Ⰰ  搀漀挀甀洀攀渀琀愀爀礀 漀爀  挀漀爀瀀漀爀愀琀攀⼀椀渀搀甀猀琀爀椀愀氀猀

䴀甀猀琀 栀愀瘀攀 愀 䜀攀漀爀最椀愀  戀甀猀椀渀攀猀猀 氀椀挀攀渀猀攀Ⰰ 栀漀眀攀瘀攀爀  昀椀氀洀 愀渀搀 琀攀氀攀瘀椀猀椀漀渀 挀爀攀搀椀琀猀  渀漀琀 爀攀焀甀椀爀攀搀Ⰰ 戀甀琀 戀攀椀渀最 昀椀氀洀  昀爀椀攀渀搀氀礀 椀猀℀

䰀䤀匀吀䤀一䜀匀 䄀刀䔀 䤀一䌀䰀唀䐀䔀䐀 䤀一 伀一䰀䤀一䔀 䘀䰀䤀倀䈀伀伀䬀     倀刀䤀一吀 䐀䤀刀䔀䌀吀伀刀夀      伀一䰀䤀一䔀 䰀䤀匀吀䤀一䜀匀 䤀倀䠀伀一䔀⼀䤀倀䄀䐀 䄀倀倀     䴀䄀䨀伀刀 匀吀唀䐀䤀伀 䐀䤀匀吀刀䤀䈀唀吀䤀伀一

吀漀 氀椀猀琀Ⰰ 挀栀攀挀欀 漀甀琀 漀甀爀 眀攀戀猀椀琀攀

䘀漀爀 搀椀猀瀀氀愀礀 愀搀瘀攀爀琀椀猀椀渀最Ⰰ 挀愀氀氀 伀稀 倀甀戀氀椀猀栀椀渀最Ⰰ 䤀渀挀⸀ 100


爀 氀椀猀琀 漀昀  吀漀 猀攀攀 漀甀 愀渀椀攀猀Ⰰ  漀洀瀀 猀甀瀀瀀漀爀琀 挀 瀀愀最攀 猀攀攀 渀攀砀琀


Accommodations Entertainment Attorneys and Lawyers Finance and Accounting Financing, Venture Capitalists Film and Video Festivals Film Licensing and Copyright Clearance Guilds and Unions Insurance Interior Designers - Residential/ Corporate Literary Agencies Locations Available Locations Permitting Mediation Services Music Licensing and Copyright Clearance Payroll and Talent Payment Services Product Placement and Promotion Production Software Professional Organizations Public Relations and Publicity Publications Researchers and Historical Advisors Schools and Training - Art, Film, Gaming, Multimedia, Video Screen and Script Writers Script Breakdown and Budget Specialty Advertising Services Distribution, Sales and Marketing Tax Credit Brokers, Buyers and Advisors “Technical Advisors - Medical, Law, Legal, etc.” Translators and Interpreters


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24-Frame Playback Aerial Camera Platforms Batteries Camera Consultants Camera Cranes Camera Repair Cellular Phones Digital Code Slate Ear Prompting Equipment Electrical and Electronics Suppliers Expendables Fuel - Generators Generators Lifts Multi-Service Companies Camera Suppliers Multi-Service Companies Lighting, Grip and Electrical Photo Labs Platforms and Scaffolding Projection Services Rigging Equipment Fiber, Satellite and Uplink Services Teleprompting Equipment Video Assist Equipment Walkie-Talkies and Two-Way Radios


Acting Classes and Work Shops Casting Assistants Casting Facilities Choreographers Dialect and Voice Coaches Coaching - On Set Extras Agencies Nannies and Guardians Personal Trainers Seminars and Workshops Talent Agencies Talent Agency - Animal Talent

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Dental Supplies Digital Imaging Drums and Barrels Dry Cleaning, Laundry, Leather and Suede Cleaners Fabrics, Draperies and Upholstery Faux Finishing and Murals Flags and Banners Flooring Fresh Flowers, Live Plants, Silk Plants Foam Fabrication Funeral Equipment Furniture Hardware, Paint and Lumber Household Accessories Light Fixtures, Practicals Lighting - SFX Machinists, Metal Work Make-Up Supplies Manicurists and Nail Technicians Mechanical Effects, Animatronics and Robotics Medical and Scientific Equipment Military Aircraft and Vehicles Military Surplus, Paramilitary Gear Miniatures and Model Makers Neon Signage Pipe and Drape Polygraph Printing - Wide Format Prop Boats Prop Houses Prop Suppliers Prosthetics Puppets and Puppeteers Records, Musical Items Recycling and Waste Management Restorations Restrooms - Portable Sculptor and Model Makers Seamless Background Paper Signs and Graphics Specialty Glass and Windows Stunt Equipment Supply Houses - SFX Surface Materials Tents and Canvas Awnings Thrift Shops Trophies, Plaques Uniforms, Specialty Clothing Vintage and Period Clothing Wall Art Wardrobe Supply and Rentals Wigs and Lacing Window Treatments

404-633-1779 SEPTEMBER / OCTOBER 2015





䴀 䄀刀䌀䔀䰀  䌀 䠀刀䤀匀䴀䄀一

䌀攀氀氀㨀 㜀㜀 ⸀㜀㄀㐀⸀㈀㄀㌀㘀 伀ϻ挀攀㨀 㜀㜀 ⸀㐀㜀㜀⸀ 㔀㐀㘀

䨀愀渀椀琀漀爀椀愀氀 匀攀爀瘀椀挀攀猀 倀爀漀搀甀挀琀椀漀渀 匀甀瀀瀀漀爀琀

䄀䴀䄀刀䄀䌀伀 ㈀ ⬀ 礀攀愀爀猀 漀昀 攀砀瀀攀爀椀攀渀挀攀 椀渀 搀攀琀愀椀氀攀搀 愀渀搀 瀀攀爀猀漀渀愀氀椀稀攀搀  挀氀攀愀渀椀渀最 猀攀爀瘀椀挀攀猀 昀漀爀 瀀爀漀搀甀挀琀椀漀渀 漀ϻ挀攀猀Ⰰ 氀漀挀愀琀椀漀渀猀Ⰰ ⠀瀀爀攀   氀洀 愀渀搀 瀀漀猀琀  氀洀⤀Ⰰ 愀渀搀 挀愀猀琀 ☀ 挀爀攀眀 愀挀挀漀洀洀漀搀愀琀椀漀渀猀  椀渀挀氀甀搀椀渀最 䄀ⴀ氀椀猀琀攀爀猀Ⰰ 眀椀琀栀 琀栀攀 甀琀洀漀猀琀 愀琀琀攀渀琀椀漀渀 琀漀  瀀爀椀瘀愀挀礀⸀ 䘀愀洀椀氀礀ⴀ漀眀渀攀搀 ☀ 椀渀猀甀爀攀搀⸀

믠攀 䄀挀挀漀甀渀琀愀渀琀㬀 䜀漀漀猀攀戀甀洀瀀猀㬀 䘀甀爀椀漀甀猀 㜀㬀  匀愀戀漀琀愀最攀㬀 믠攀 䠀甀渀最攀爀 䜀愀洀攀猀㨀 䴀漀挀欀椀渀最䨀愀礀Ⰰ  倀愀爀琀 ㈀㬀 믠攀 䠀甀渀最攀爀 䜀愀洀攀猀㨀 䴀漀挀欀椀渀最䨀愀礀Ⰰ 倀愀爀琀 ㄀㬀  䤀渀猀甀爀最攀渀琀㬀 嘀愀挀愀琀椀漀渀㬀 䄀渀挀栀漀爀洀愀渀 ㈀㨀 믠攀 䰀攀最攀渀搀  䌀漀渀琀椀渀甀攀猀㬀 刀攀猀甀爀爀攀挀琀椀漀渀⸀ 䄀搀搀椀琀椀漀渀愀氀 挀爀攀搀椀琀猀  愀瘀愀椀氀愀戀氀攀 甀瀀漀渀 爀攀焀甀攀猀琀⸀




C HORSE SANCTUARY Holistic Wellness Services: Physical & addiction rehabilitation, therapeutic riding, tai-chi, equine mental health, corporate team work, 1 & 3 retreats, certified riding- horsemanship instruction, mind-body - spirit connection. Supported by Endless Ribbon Foundation Inc. www.erfinc.org 3231 Lenora Church Rd Snellville, GA 30039 404.731.2143

Better Service. That’s Ryder. For Rental 1-800-345-9282 reservations.ryder.com


䠀漀洀攀 漀昀 吀栀攀 䌀漀渀瘀攀爀猀愀琀椀漀渀 倀椀攀挀攀 䌀甀猀琀漀洀 洀愀搀攀 栀愀渀搀戀愀最猀

䌀漀渀琀愀挀琀㨀 䴀愀欀愀氀愀 䴀挀䜀氀漀挀欀琀漀渀 㐀 㐀⸀㌀㜀㔀⸀㘀 㠀㌀

䔀洀愀椀氀㨀 琀栀攀挀漀渀瘀攀爀猀愀琀椀漀渀瀀椀攀挀攀猀





Multimedia Production Makeup Artists Stylists & Designers Atlanta 404-HelpMe2 Mobile/Text 404-931-7074

Toll-Free 877-HelpMe2 Direct 770-479-8864

Rhonda@HelpMeRhonda.com Rhonda Barrymore, Founder


Oz Publishing, Inc. PH FX PH

404.633.1779 404.636.5919 800.705.1121

www.ozonline.tv www.ozmagazine.com facebook.com/ozmagazine twitter@ozpublishing

2566 SHALLOWFORD RD. STE 104, #302 /ATLANTA, GA 30345





Area 1 - Port Exterior

ROBERT BROWN Robert Brown is a concept artist and illustrator currently attending the Savannah College of Art and Design in Savannah, GA to obtain a BFA in Sequential Art with a minor in concept art for video games. He strives to achieve multiple styles in his work in order to achieve a sense of flexibility that can be applied to numerous avenues in the entertainment industry, whether that be feature film animation or game development. He is currently a freelance illustrator for the comedy website College Humor, creating images for the company’s online articles.

Genius-Prop Comparison

Website: www.brwnbear.com

Black Gold


CHRIS EVANS Chris Evans was introduced to the craft at a young age by his father. His passion for photography has allowed him to meet and build great working relationships with some extraordinary people. Through his work, Chris is able to tell stories and express his creativity. Chris’s work is always able to evoke some sort of thought or emotion when viewed. Photography for him is about capturing personality in the subjects; therefore making every image timeless. Website: www.clearlyfocusedmediaworks.com Subtle Eyes




“Productions & Events are our Speciality, Customer Service is our Pleasure.”

Power & Equipment Rentals:

Generators (Sound Attenuated) & Studio Units Power Distribution Temperature Controls Light Towers/Globugs


Turn Key Service - Power & Climate Controls Tech Support Available 24/7 Staffed Licensed Electricians-Electrical Permits Power & HVAC Logistics-Pre-Site Consultation On Site Diesel Fuel Service (Diesel & Bio-Diesel) Stand-by Electricians & Experienced Techs “We are Local and Family owned & operated” Visit our website for a complete listing of equipment (service page) & credits (event page) www.harrisdiversifiedllc.com

Rick Harris (c) 404-550-6432 Owner & Sales / Service / Licensed Electrician Delores Harris (A/P Office) 770-794-6668 Owner & Bookkeeper Lindsey Harris Morrison (C) 770-722-6669 Office Manager / Film Industry Accounting 230 Summerhill Rd., Dallas, GA 30132 (Main Office) 770-445-8722













Atlanta Technical College 1560 Metropolitan Parkway, SW Atlanta, Georgia 30310 (Free Parking, Yea!)


May 13th—15th, 2016


Early Bird & Student Specials!










Generate's Educational division is bringing STRAIGHT TALK to Atlanta’s next generation of crew and talent. Before you make a decision on a school, trade, agent or which union or guild to join, talk to the people who live the life. Learn from industry professionals what type of careers are out there, what a day in the life of a filmmaker is like, what it takes to get into the industry and stay in the industry. Generate Educates with STRAIGHT TALK. Closing Night: The Oz Awards celebrate the Behind the Scenes Creatives working in Georgia!