The Power of Professionalism: What Casting Directors & Agents Are Really Looking For | Ep 38

MAX: 00:12
G'day everyone, I'm Max. I'm Sam. And we are back to Unemployed Actors. We've got lots to talk about today. Uh a new self-taped database info from a Joel Edgerton QA and tips from Mark Morrissey, Mr. Super Agent here in Australia for up and coming actors and lots more. Awesome. Awesome.

SAM: 00:30
It will be awesome. It will be. And we're back. Look at this. We're back even during coronavirus time.

MAX: 00:36
Yes, we're back in the studio. And I have to say, Fred was super excited because everyone when I started setting it up, he was like back on top of the table. He jumped up on the chair, jumped up on the table for a go of the legs. He was motivated.

SAM: 00:46
I know.

MAX: 00:47
So we've got the green light from producer Fred.

SAM: 00:49
Unfortunately, now I have to see Max's face.

MAX: 00:51
And that's you know, you're welcome.

Speaker 1: 00:54
Yeah, yeah, yeah.

MAX: 00:55
So uh yes, we've done a bit for Corona, we're back in the room, and we've got lots to talk about because even though it's still pandemicville, it kind of feels like we're coming out of it a bit in Australia, certainly in New South Wales. Like they're gonna relax some restrictions even on Friday. We can feel more like a human, less like a prisoner. You mentioned you want to talk about the casting guild Australia database. I saw a bit about that recently.

SAM: 01:19
So they've like they've they've released on social media and stuff that they want to create a self-tape database, and I think um that would be good for for everyone to put in. I I I haven't read too much into it, but I don't think there's too many limitations. I think maximum three minutes and and that's pretty much it. So not no really not really any excuse because you can send in old self-tapes as well that you already even filmed. Um I'm guessing it's like a big database for all casting agents. So instead of having to go into individual casting agents and do general audition or send in a self-tape to specific ones that ask for it now, they can pull from almost like a library of everyone in I'm guessing Australia.

MAX: 02:02
Yeah, well, I think it's really important obviously. Any opportunity, any opportunity for an actor to get in front of an a uh casting director, like you know, go for it. Like you'd be stupid not to apply. No, I think they've broken it down into age groups because there's gonna be so many submissions.

SAM: 02:14
I'm gonna I'll talk to Grant about it, he's probably already heard of heard of it, but see what to do there because I think it's yeah, like you said, you want to put your tape for forward.

MAX: 02:22
100%. Um, and it'd be kind of like, well, look, this is what you're normally shortlisted for, so that's pretty much what you should spend time on. Yeah, and yeah, if you've got resources like Grant, absolutely go for it.

SAM: 02:31
Definitely. And and I'm guessing you can send in more than one, maybe. No, I haven't even looked at the page. I need to read more into it, but yeah, yeah. We've both on it. No, but I'm guessing it's a good thing.

MAX: 02:44
We'll link into our social too, um, just so that you don't you don't just have our vibe, you actually have what you need to do. Yeah, yeah. Which is kind of important, I guess.

SAM: 02:52
On the topic of self-tapes, I think I spoke about last week the actor competition that I that I um submitted my stuff into. I think I spoke about we already spoke about the shortlisted people and then the finalist was coming. That night, so after podcast, that night the winner was announced. Um but most of them were from Melbourne and and uh I wasn't shortlisted or most of them from Melbourne. One guy was from the actual agency that one of the agents and one of the agents was on the panel. Um but they were all good, and then um some were a bit over overacting, I thought. Um I'm interested to know what Grant actually thinks of that stuff. I'm gonna talk to him about it. But the winner was good. He he kind of um incorporated toilet paper into his audition. Pandemic life. Yeah, well it works because it's a coronavirus script, and and so he was on the toilet and Yeah, it was it was quite good. Um too. But there's more and I and I and a lot of them had IMDB pages, and I and I said to Jess, you know, there'll be there'll be plenty more, but also I think getting a role will be a bit more important than a competition, um, as amazing as the prize as well.

MAX: 03:57
And at least you're in front of Kirsten McGregor and the right. Yeah, exactly. Exactly. That doesn't hurt.

SAM: 04:01
No, actually seeing my thing, I'm probably in a personal folder now.

MAX: 04:05
Will you get will you get will you get feedback, do you think, from your submission? No.

SAM: 04:10
Okay. There were hundreds. I don't think they'll be giving us much feedback. But if I'm guessing if if I'm guessing it had to be quite a unanimous thing. Um so even if Kirsty McGregor liked people that weren't shortlisted, she'll have she'll have she now has their stuff. So that's pretty good. Um Kirsty McGregor is the casting agent who did Animal Kingdom and Palm Beach, and I think she does them in a way as well. Uh neighbours, I know. Neighbours, then maybe I'm mixing those two up. They're so similar, but um yeah, which is back in production. And also Mulners, that audition that I did for Mulners, um have to wait four to six weeks to hear back. So classic month um big this is a big feature film one where you trained up my my my rival. Yeah, you keep bringing.

MAX: 04:58
I've only just heard about it. I think it's horrible. It's horrible. I'm just like so open to help him like, yeah, yeah, come on down, we'll do I'll hope you threw a self-tape. Yeah, no worries, no worries. And then afterwards I only realized when I put two and two together that were right in front of me that it was for your role that you were doing.

SAM: 05:12
I asked Max first and he said no, mate. I hate him. You've got Grant Thompson at your fingertips.

MAX: 05:18
That sounds a bit suspicious, doesn't it? Maybe at your fingertips, but you know what I mean.

SAM: 05:21
I pay him at my fingertips.

MAX: 05:23
Uh I want to know how you pay him if that's how you pay him, but anyway.

SAM: 05:26
Oh no, that's a weird cut that out.

MAX: 05:29
Oh, that's staying in. No, it's not. It's gonna be sent directly to him on a loop. Uh I think the casting guild database will be so important now, too, because the industry and and talent, everyone's just so used to doing self-tapes. And if there's another way to sort of filter, obviously agents are gonna put forward who they feel is gonna fit the brief, but to have the ability just to go in and see how that person looks on screen and yeah, definitely. I I i it's just another way to show I don't see it replacing people in the room, but another way to help them, you know, come up with that short list.

SAM: 06:02
And if you're there, you'll like it, and it helps not just during isolation, but just in general in this modern day and age, self-tapes have become a much bigger way of auditioning people from far or just more people that you because you can obviously have a time limit when you put in the room. Um, so that's good. And then once obviously you get to them last round, you'd you're probably brought in. So it's good stuff.

MAX: 06:22
A lot of pull my finger out and get something moving on the self-tape database. I wonder if my age groups last because I'm so old.

SAM: 06:29
Yeah. Probably doesn't it's not even existent. If you're almost dead, doesn't it just include the walker in the frame? Yeah. It'll be soon. Be soon one employed actor. So one unemployed actor.

MAX: 06:43
I've been busy, I've been busy with uh voiceovers. Like there's been a lot of work, I think. Uh and people finding me through all sorts of bits and pieces. I had funnily enough, I got a I was contacted from Perth, which doesn't tell much because it's in the same country, but it working for all the way from Perth. I think New Zealand is closer. I think so too. But uh working for a London agency that uh a part of their work stream is ads for podcasts. And uh he was coming to visit family uh in early January and then heading to Perth to spend time with his parents. Obviously, corona hit, and he what do you know? He's working from Perth, so which is probably better than being in London, right? Oh, yeah.

Speaker 1: 07:27
Yeah, probably.

MAX: 07:27
Uh they're still going through the thick of it, but uh yeah, look, work still goes on, unfortunately. Whether we're next to each other in a studio or remotely, we can still do work. So I'm doing something for him, and that was interesting getting his take on the industry, how there was a bit of a bump uh up uh as the corona sort of hit, and there's such a need to still get content out there, and it's something that we can do without being a studio, it's still something we can sort of move forward in our more than 1.5 meters apart corona world. Yeah. Um so look, it's been it's been really busy, but I've still had time for uh QA's, which I love. As much as I want to go to events and I miss that, I miss it. I think it's great that we can just sit on the couch and turn on, you know, like a nider special with Joel Edgerton QA. Oh, yeah. Uh really interesting, particularly on how he uh made the transition from surrounded by working full time as you're studying. That sounded weird, but you know, you're working on your craft while you're studying drama, uh, you know, five days a week plus, and then all of a sudden, boom, you've graduated out there. Yeah, and it's oh my god, crickets, you know. So it's a hell of it. But then also from the other side, because on Friday night it was an hour and a half with Mark Morrissey, who runs Morrissey Management, who has people like Chris Hemsworth on the books, just to give an idea of the many, many Aussie, Aussie, good, big Aussie actors now in names, names, and he's been in the business forever, forever. Since he was an actor, as much as he doesn't like to admit it, because according to him, he wasn't a good one, but hey, uh he's found his role in the business.

SAM: 09:00
And now he's picking good ones.

MAX: 09:02
Exactly, exactly, which is great as long as they pick us next. Uh, but um, so that was really interesting because he actually remembers a story when he well, he was a story, he went to a set in WA SA where um Joel was on set for one-on-one role.

SAM: 09:18
Yeah, and that's South Australia for everyone who who doesn't know that is.

MAX: 09:22
Exactly, for all American listers, for example. The majority of them. Unless they've been to South Australia and they absolutely love the place and they're like, oh no, SA. Classic SA. They'll know SA, 100%.

unknown: 09:32
Yeah.

MAX: 09:33
Oh good. I'm not writing an SA, it's actually a stuff.

SAM: 09:35
Anyway, yeah, it's not ESSA, why? So he turns up SSA. Capital S. Capital A.

MAX: 09:40
So he turns up on set. So he turns up on set. Put yourself together, man. So he turns up on set and they said to they said you've got to look out for this guy. This guy's amazing. This young kid, his name's Joel. He's just like he's he's great to work with, he's always prepared, and like he knows everyone's name, all the crew. Uh that's when he first came on to Mark's radar. He signed him now, not then, but uh I wonder why why not then? It's a it's an imp it it's an important probably didn't fit into his portfolio of amazing greatness. But uh I think what was interesting is it's not just about being a great actor. You've got to be someone who can work well in a team.

SAM: 10:19
Yeah, work ethic, 100%.

MAX: 10:21
Some of the half of the things people can really want to work with. Yeah. Which I think is so important because it is a huge team environment.

SAM: 10:30
Yeah, I mean, when you're with the same people for months on end, you don't you don't you don't want to be an asshole, you know.

MAX: 10:35
Exactly. You're cooped up doing 12-hour days plus you don't want to don't be that guy. Yeah, exactly. You be next to them, no, don't be respectful and all that stuff.

SAM: 10:43
Like the actors, you know, once you realize that being in like the actor is not even a quarter of the the making of the film or whatever, you know. And it takes a lot of people to make them look good. A lot of people, a lot of people, yeah, exactly.

MAX: 10:56
You could be doing your best work, but you want to be nice to everyone.

SAM: 10:59
You could be the best actor in the world, and if editing doesn't like you, your stuff and your reputation.

MAX: 11:05
Because he said a lot of times he gets phone calls. What's so-and-so like to work with? And he knows other directors get that a lot, you know, what's so-and-so like to they'll call, go, hey, you know, what's so-and-so like? Uh there's a lot of that because it's a big risk. Yeah, you want the work to go smoother, you want it to be on schedule, you want it to be a representation of everyone doing their best. And I thought that was a really interesting point when you look at from the business side, going, well, yeah, it's like any business where you've got a large group of people depending on the outcome, yeah, or contributing to the outcome, they've if they're all gonna be pulling their weight. And the more they all work together, the better the outcome.

SAM: 11:39
Yeah.

MAX: 11:39
Ideally, in an ideal world. But hey.

SAM: 11:41
Yeah, and I like whenever I'm on set, I try and learn everyone's name. Um, just for the sake of I don't know, building relationships as well. And you're on set with these people.

MAX: 11:49
Yeah, and you would work with them for a few days or whatever. There's always that, there's always that one awkward soundie, but you never learn the name of, but suitably banged my microphone as I was uh but you know, I guess that's the game. But there's always one creepy guy in the corner holding a boom, but uh no, legit.

SAM: 12:07
They're lovely, but you never learn their names. The funny thing is, the sound dudes are always the most quiet.

MAX: 12:16
Uh that's interesting.

SAM: 12:17
Well, I mean it's their own. They're listening, yeah. They're listening. Yeah. Well, I always like I always like if I have a mic on me or like they're holding a boom, I always like whisper and like they're the only ones that can hear, so I have like a whispering conversation to them and they can't reply.

MAX: 12:30
But while they're doing setups, I do turn mine off just to preserve the battery, I say, but also because I'm mindful that they're listening to everyone. Just remember to press record. It's all about me. Obviously, they're just the whole day is just wanting to listen to me.

SAM: 12:41
Yeah, just remember to turn it on next before you start.

MAX: 12:44
Me, you I understand you. I just don't like it. Keep the moments, keep it. Okay. One important point that Mark raised, and and it was really interesting because this has been bugging me forever. The difference between in America a manager and an agent, and why is there even a need for two? His analogy was picture a manager as a cottage, like a wonderful terrace that's really comfortable. You want to spend time sitting down with them and going through your 10 projects and working out that, hey, maybe only eight are right for you. And of the eight, you know, why and which should be the ones to really go for, etc. It's more personal, more one-on-one. Whereas an agent is more like okay, they're sending you the 10 projects a week.

Speaker 1: 13:28
Oh, yeah.

MAX: 13:28
They're they're they're a 20 versus the comfortable cottage, a 20-story business, all wearing suits. And as an example, you know, he said WME employs seven and a half thousand people. Like this is what they do is to get the right project. Right? Yeah, to get the right who to look after talent. Yeah, seven and a half thousand people. So that their their job is to make sure the projects are going the right direction.

SAM: 13:48
WME.

MAX: 13:49
Um, big agent in the US, like CAA. Huge. Although he did also note that basically, because of the current state of global productions not happening, 20%, 20% of the workforce are being uh let go this week. So it is it is a business, and like any business, it's being affected right now. Absolutely. But on the other hand, um, I can understand now how um you need a manager and an agent, especially in the states where there's so many opportunity, more opportunities. Um, you really want to get the right projects and sit down and go through them and understand you know what's right for you, how to approach it. You know, have you done something similar before and does it sort of gel with you now? And you know, versus what what's marketable or or what people are really talking about, what they want to see from you. So I I really understand that. And and the Australian business is perhaps a bit smaller, but like I think, like for example, you're there with you've got your agent, yeah, and you also got Grant where you sort of you know bounce off ideas, like a mentor mentoring. Like a mentor manager, exactly, yeah, exactly. Sort of unofficially managery. Um, but it really like that finally it like the penny just dropped and it resonated. Like that's why you need to and how they sort of communicate with the Australian. I've been seeing with that for a long time. Yeah, because Mark, he's got a few talent managers who he's worked with for 10, 15 plus years. Yeah, and uh they all sort of uh are much the same when it comes to introducing Australian talent. There's some Australian talent happy to work in Australia if if international um opportunities and projects come calling, okay, they might be interested, but they're just happy working in the current in the Australian market. Yeah, sure. And then there are others whose ambition is to be exposed to more American work, and so they've got a system set up where they'll take you over there and introduce you to an agency over there, introduce you to managers, help you get on your feet because it's a huge gap between doing a self-tape and then being in a room with 10 people to turning up on set in the States where there's a 50 plus crew all around you and this is your scene go. Yeah. Like that's a huge difference, especially for someone with limited work experience. Yeah. So to have a little bit of hand holding at the start. I mean, everyone's different, but at least they've got the experience to know you might think you're ready, but you need to sit down and talk to so-and-so, or you need to understand this, or this is how this works. I think that really shows how much they invest in uh their talent being ready.

SAM: 16:12
Well, that's very true as well, like with the manager thing. Like I'm thinking about it now, um, Grant is a bit, I guess, mentor manager because he's teaching us a lot about and and taking taking us through this that we otherwise wouldn't know.

MAX: 16:23
It's a great sounding board for for you.

SAM: 16:26
100%. I love it, it's great.

MAX: 16:27
It's good to have that. And I guess also, you know, obviously the podcast to unemployed actors is another resource of uh Max Belmonte.

SAM: 16:35
He's my manager. That's all I take. We're each other's managers.

MAX: 16:38
He's my mentor. He doesn't talk much, but that's okay.

SAM: 16:42
He listens. He listens, that's what's important.

MAX: 16:45
That's where the podcast is going too long, you just start scratching. That's it. Time to wind up, people. Yeah, yeah, yeah. I ruin the sound until you stop. Talking about Mark's point, just to go back to Mark's point about you know, you have to be willing to work within a team and work well in a team. He mentioned an example where a Melbourne casting agent came up to Sydney to cast over a couple of days for a role on a soap opera. And they had a had it set up in a hotel, so you'd come in, the talent would ask reception, I'm here to audition for such and such. Yep, no worries, take a seat, and they'll sort of handle that groundwork, and then when they're ready, up they go. And on break, she'd come downstairs and thanking reception for you know doing all that, and they're like, Oh, I really hope such and such gets it, and so and so gets it. She's like, Wow, oh, that was just so nice, they look really good, they were represented really well.

SAM: 17:39
And I guess you don't you don't think the receptionist is gonna be play a role in the right. I know, right?

MAX: 17:42
And then other to go, oh, I don't know about this one, you know, he was pretty curt or not really friendly or herself, you know. And that was a fundamental part of their decision making for the final recommendation to the producers. 100%. Because it's about and all and they see it all the time if people walk in and they've got the facade on and it's hey, you know, I'm actor, such and such, or whatever. It's like be you because the competitive advantage is there's only one of you.

SAM: 18:06
So like when you think about it, these these yeah, these casting ages have seen heaps of people.

MAX: 18:09
I think they can read fakes as well, you know. It's a job, you're taking it seriously and you're prepared. Definitely, but you're friendly and professional, approachable. 100%. The nice guy. Yep. And then unless you're an absolute dick, be someone else. In which case, probably take a note of the room because you probably won't be back. Yeah.

SAM: 18:27
Uh yeah, yeah. Or be someone else. Yeah.

MAX: 18:30
Because it's such a and and I think particularly in Australia where it's such a small industry, you know, you can't really afford to have a couple of production companies not wanting to work with you. Because it what it gets around, yeah. Exactly. So what is, for example, Mark Morrissey looking for when it comes to up-and-coming talent?

SAM: 18:48
I think you're gonna tell me.

MAX: 18:49
I think I am. I took good notes. Looking for intelligence, a sense of humor, a sense of humanity. Looking for someone that you feel has the potential or capacity to have an extraordinary career, and I guess that's the million-dollar question. Uh, you know, their voice, how they present an interview, really a lot of what you said, where okay, you've got to be able to act, but you've also got to be able to keep up with the work, lobby work of it, and you know, be a part of the getting that interview, how do you do that? The best time there's times to let's just put it this way, there's times to avoid asking for representation in Australia as an example, I'm sure it's the same in America, where you've got the at the start of the year, pilot season, a little busy, perhaps not. At the end of the year, all the grads graduating, all asking for representation every year at the same time, perhaps not. So perhaps the middle of the year is a bit better to put yourself forward and expect them to have some time to go through and maybe give you some feedback or um at least be able to see your your your work. I mean, Mark said he goes through they have a a stage where they go through everything that's turned up. That's mid-year, I think so. I mean, it could be. Uh uh they might have a couple of times a year, but they all vote. He's got talent managers who work for him for some time and they all sort of vote and say, Yep, we all agree, let's move forward. Only rarely will one sort of push someone who's perhaps not there with the others, but they'll lean in onto that person's experience and go, but let's bring them in. So there's a lot more to it than just, you know, I've graduated from Echo School and I've got a couple of credits. Yeah. It's what do you like to work with? What's your potential like? We see what you've done. And I guess what can you do?

SAM: 20:19
And he can grasp that quite quickly because he's met so many people. So many people in the upcoming yeah.

MAX: 20:25
And you also know that with that calibre of management, you've got should when you when you progress, we'll be positive, not should, when you progress, you've got the resources there to help introduce you and unlock further opportunities at that level globally. There was one stage where I had like one a day, um, industry-wise, and and it was great. Uh two of them full-on industry. Oh yeah. Uh you have to be vetted. Another one was just like a Instagram. Sure. Let's have a chat. So it's really interesting that the opportunities are still out there to you know to really um stay connected to the industry, even though we're all in ISO.

SAM: 21:15
Well, speaking of Zoom meetings, I actually I got an an email from my old singing teacher who I had for four years throughout high school. Um, and he was saying, Hope you're well. I've had a lot of cancellations too during this crazy time, blah blah blah. He was gonna tour here, all this stuff. And he he was very kindly offered to, he's like, I'd love to hear you again if you want to do a zoom call or something. So I'm tomorrow, I'm zoom calling with my old singing teacher who is amazing, taught me everything I knew technique wise, held on to that.

MAX: 21:44
But they'll be able to listen and go, Oh, someone hasn't been warming up properly. Yeah, I reckon he's scale recently.

SAM: 21:49
And what I need what this is the the best ones are the the the strict ones, like I constantly keep saying that. Um and I think he will he will pick on stuff, and I want that, obviously. But I have been working, my voice has improved drastically since AJC, like sped sped up. It was so I've been practicing and hopefully he sings that.

MAX: 22:08
That's cool. I remember Emma said to me, uh actually it wasn't that long ago, she was she had a phone call from her her old singing teacher and uh straight away she's like, Oh, you haven't been singing lately, have you? And just talking on the phone. Emma's like, you know, you know, talked about her corporate life. Um and it's just really interesting. Except for an employee actor intro. Yes, yes. Uh, but um, it's really interesting how like when they do that for a living, like it really that's what they do. Yeah, that's their thing. If you have a good one, that is, yeah. Yeah, that's true. Yeah. I'm sure there's plenty of people when they take your money for teaching to sing. Yeah. Fred will teach you to sing. Doesn't get much feedback, but you listen. I'm Max. I'm Sam. You've been listed at two unemployed actors. Don't forget to like and subscribe. Follow us on YouTube as well, and we'll be back next week. Bye. See ya.

MAX: 22:55
He's busy shaking. He's shivering, yeah. He's what's he?

SAM: 22:58
Freddy's talking.

MAX: 22:59
I put his uh I put his cardigan on.

SAM: 23:01
Oh, is he cold? And um he has a jumper on now.

MAX: 23:05
He uh I know, but he has a cardio over the top. And uh he's fine when I'm here. Then I left, I turned up, he didn't have it on, he took it off. I searched the house, I couldn't find where the hell he put it. And then like two days later, it just turned up in the middle of the floor somewhere. Perfect condition. He hit it somewhere. But yeah, I'm like, mate, you're not helping the situation.