Sunday, November 27, 2011

Open Auditions For The Pittsburgh Power Arena Football League TV and online advertising campaign!

The Pittsburgh Power Arena Football League are holding open auditions for starring roles in their television and online advertising campaign promoting their 2012 season. The auditions will be held at Mullen’s on Carson Street on Pittsburgh’s South Side on December 1, 2011 starting at 2:00PM. Participants will be asked to perform both improve and script readings. Participants are encouraged to approach auditions with a sense of fun, creativity and spontaneity.

Registration begins at 11:00AM the day of the auditions. Pre-register online. There is no fee to audition.

Friday, September 2, 2011




Event Location: Pittsburgh, PA

Number of Staff Needed: 6-8 Samplers

Event Overview: Samplers will visit 1-2 venues each night they are scheduled for a total of 2-4 hours. They will give away free samples, possibly free premiums, and engage consumers with product knowledge and some type of on-site game.

Due Date: I need to have all candidates submitted by Noon CST (1 EST) Sunday 9/4

Closed Casting Call: Will be held on Wednesday 9/7 – times and location will be provided if chosen.

Training: Those chosen at the casting call will begin training the following day, Wednesday Sept. 7th 8 -10pm.

-Samplers need to be extremely personable, approachable, and outgoing.
-Must be friendly and talkative.
-Must be 21+ since we are executing in bars and clubs
-Liquor/on premise experience is a plus

Females- Black fitted t-shirt, green gloves, and green nylons (all provided). Sampler will provide on black skirt and black heels
Males- Provided black branded t-shirt. Sampler will provide nice jeans

Schedule/Availability: This will be a "pool" schedule. We are in need of samplers that are available 3-4 nights a week. Schedules will be flexible as an email will go out to the entire pool of samplers with a list of dates, times, and venues for the week. Samplers will reply with their availability and get booked based on that. Event times can start as early as 3pm and can end as late as bar time.

Rate of Pay:

• Must be professional.
• Must have an outgoing and friendly personality.
• Must be comfortable approaching consumers and engaging them in a professional manner.
• Must be able to stand/walk for 8-10 hours.
• Must possess minimal computer skills for data collection purposes.
• Must speak English .
• Capacity to work independently and be accountable for actions
• Excellent interpersonal and communication skills
• Past experience in the retail or restaurant industry is a huge plus


Thursday, August 25, 2011

Top 3 Ways to Tell You’re Getting Ripped Off by a Club or Promoter

Running a music venue is hard work. Let’s get that little truth out of the way upfront. Long hours. Liquor licenses. Sound system maintenance. Booking. Oh, and, umm…dealing with musicians! (Face it: we can be a bunch of immature divas sometimes, especially when alcohol is involved.) But that doesn’t justify skimming off the top or inflating projected costs in order to earn a few extra bucks at our expense.
So, here are a few things to be on the lookout for when it comes time to collect payment at the end of the night:
1. The Catering Budget – Did the club keep $250 from the door to cover “catering,” and then leave you with two cases of Budweiser and a snack platter? Yeah, they’re probably pocketing the rest for themselves.
 2. Promotional Cost – Did they print unique posters for your show and distribute them all around town? Did they run an individual print or radio ad for your show? Or did they print posters for their venue that list all the shows over the next week or two, and run an ad in the local weekly for all the shows that month? If you’re not getting special promotional attention from the venue, then your contribution to their promotional costs shouldn’t be that high. If they are, chances are the club is making every band kick in money and then giving the promotional “group-treatment” in order to earn some extra dough.
3. The “We Had to Let Some People in for Free” Excuse - Ever played a club that seemed pretty full, and then at the end of the night the door person hands you a wad of bills that seems a bit…thin? Then they tell you, “Well, it was pretty slow for a while so we decided to just let people in for free.” Yeah, that shouldn’t happen without your prior approval. Otherwise, they could be charging folks and feeding you that line so they can hang on to the cash.
Most clubs are innocent of these crimes, so I’m not saying you have to approach every gig with caution. Club owners, bartenders, bookers, door people, sound engineers, and musicians are usually all on the same team with the same goal: get people in the door, give them a good time, and make some money. But I have seen each of these 3 things happen multiple times. If you happen to be the victim, stay calm. Talk to the person in charge and tell them (with a cool head) that you don’t think their policy is quite fair given the circumstances. If they’re jerks, don’t play at their club again. If they make things right, sweet! Maybe it’ll curb such behavior in the future.
What are some other ways clubs can rip off artists? Got any horror stories of your own to share? Feel free to leave your comments below.
-Chris R. at CD Baby
P.S. In the comments section below, Roy Linford Adams added a few more warning signs that I thought were worth noting. He writes:
4. WE ONLY PAY FOR THE PEOPLE WHO CAME TO SEE YOU. I’ve dealt with this a few times. The fact is even IF they are asking the people what band they are there to see, it forces the person to have to choose. Maybe they are there to see ALL the bands.
5. THE EVENT IS HAVING YOU PAY JUST TO PLAY. So let’s get this right, you pay them hundreds (if not thousands) of dollars that between you and all the other bands, more than pays for the venue, promotion, and headliners. And they get to walk away with all the ticket sales? If this doesn’t ring a bell for you then don’t expect to ever get paid for your music. 90% of the time the turnouts for these events are terrible because the promoter already has his money. Sure he’ll tell you there’s going to be some massive turnout, that there’s going to be record label scouts, that this will “Make you carreer.” but the fact is he doesn’t have to deliver on a single one of those promises and afterwards, there’s nothing you can do about it.
6. YOU NEED TO SELL TICKETS IN ORDER TO PLAY. Let’s face it, if you can sell the 25, 50, or even 100+ tickets, you don’t need them. Rent the venue for the night, book some friend bands and sell those tickets. Typical club venues want $100-$300 for a night and the avergae ticket cost is $10, so if you’re selling 50 tickets, there’s at least $200 you’re not seeing. Why should YOU do all the work to sell tickets that you know are going to pay for the venue and more… only to let some greeseball walk away with that hard earned cash just for making half an hour’s worth of phone calls to you, the other bands, and the club????

                      Original article : diy musician

Friday, August 5, 2011

Going For Gold (Why Silver Isn't Enough)

Written By: Alan Lee

   So often i see people with big goals, lots of potential and big dreams, only to see them settle for less.  I don't know about you, but this annoys the **** out of me!  Why should i care?  Well because i just cant fathom why someone would settle for less than the best.  Ok...lets break down some scenarios I've come across, and maybe then we can try to figure out what the real problem is.

SCENARIO 1:  The Album Cover (with artist picture)
  So you want pictures?  Cool.  Headshots? Full Body? Album Cover?  Great!  So all you need to do is run out and stand somewhere that looks cool (cause you can always Photoshop the background), snap snap and you're done right? Wrong!  Lets break it down....

This guy VERSE released his album cover.  Lets look at what he did right.

  1. Artist Name
  2. Album background matches the Album Title
  3. Colors Match
Now, lets break it down.
  1. Artist picture is not color corrected to make him seem like hes in the same place as the background (a simple contrast fix)
  2. Artist outline is not smooth and consistent
  3. Artist is not looking like a 'winner'
  4. Artists picture is slightly transparent
  So what can i assume from looking at this?  
  • The artists picture was not taken with this album in mind
  • The artist was lazy
  • The Artist does not value his own music.
  He could've easily found a camera, or cell phone camera (even those now have a high pxl output) and taken a picture specifically for the cover.  Then he could've stepped it up, and called a local gym or boxing gym and gotten permission to take some shots there (i've done this). He could've spent a bit more time on making the photo look consistent or found someone who could, usually for free by placing an add in the "Creative" part of Craigslist.  
   Those few steps, would've taken this cover from being a "typical NON-Major Artist" to a "Wow this person is serious about his career, maybe i should be serious about him too" artist. 

SCENARIO 2:  The Music Video
  Ok, so with people getting record deals from being on YouTube happening so often these days, you're sure you need a music video.  That's a fair assumption.  Well, while we're assuming, lets assume that you have a quality recorded song, recorded at industry standard quality.  Let's assume that the song you're recording a video for (if you have an album) is the song you're pushing to be the main single off the album.  So you've picked the song, you're ready to shoot right?  All you need is someone to hold the camera, edit it together on Windows Movie Maker and post it on YouTube that night!  Sounds like a plan...right?  Wrong.  Sounds like a waste.  Lets break it down...

Ok, so im guessing whatever camera you're using is at least HD, so then now you need location right? So you're not a hood rapper, so you're obvious choice is a Nightclub...Because that hasnt been done before right? Ok, so regardless of originality in location, you're get a Director, and crew, Some girls and guys who are anxious to "be stars" and you're set.  But what about make-up? Proper lighting? Storyline? Background acting?  Does your video seem real or staged?  Lets look at another example: 

Choze -Tell Me What's Your Name

Ok, so what did he do right?
  1. He mentions a club in the song and VIP and both are in the video
  2. He talks about a girl he wants to get to know, and in the video there is a girl he wants
  3. There is external lighting used to film the video.
  4. Everyone's clothes are clean and look authentic and realistic to each persons style.
And where he went wrong
  1. If there was make-up for film done, its horrible. Lots of forehead shine, uneven skin tones
  2. the extras dont look like they know what to do.  No one is acting natural
  3. different angles of the same scene have people in different places, not following continuity
  4. the club looks packed in the BRoll footage, yet empty in the close ups
  5. Inconsistant lighting and color correction
  6. He wants to know her name, but never approached her.
  7. For a song about a girl, the girl is barely shown and at the end he gets her too easy
  8. no explination of where that outdoors place is
  9. why are there fireworks behind buildings
The list could go on, but all these things could've been avoided if a little bit of attention were paid to details, OR if the artist cared more about his career than just putting out a video and had chosen a better director and crew.  
   So what happens when you think you did everything right and it turns out bad?  Well here's a secret....ready?.....DONT RELEASE THE PROJECT!  So what if you paid for it!  So what if you spent alot of time on it!  This is your career and are you willing to throw it away just to say "I have a video"?  

Ok, so i think i've gotten my point across, and with that here is a low budget, video that shows what little budget can do with the correct vision and direction:
Empixx International Platinum awards for Video Of The Year & Best Cinematography & Editing in a Video

And here is what can be done with a small budget, and alot of attention to detail and correct vision and direction:


So, with all that being said...stop putting out garbage, and start caring about your career.  Because if you don't show you care, no one else will either.

Thursday, August 4, 2011


We are booking PAID extras for the big stadium scenes at Heinz Field on Saturday, August 6th and Sunday August 7th   for “MAGNUS REX” starring CHRISTIAN BALE, GARY OLDMAN, ANNE HATHAWAY AND JOSEPH GORDON LEVITT.  It is a football game between the Gotham City Rogues and their rivals the Rapid City Monuments! These scenes are VERY involved and have lots of action.

YOU MUST BE AVAILABLE BOTH DATES ALL DAY STARTING VERY EARLY MORNING (AS EARLY AS 5AM) FOR 12 -14 HOURS. Pay is minimum wage for the first 8 hours and time and a half after that.  There will be craft service and drinks available all throughout this time.  You will be given lunch.  Reliable transportation is a must.  We can not book anyone who is relying on the bus as it does not run this early. Parking will be provided.

This scene takes place in the winter so you will have to be comfortable wearing layers in the heat.  No one with medical conditions such as heart problems, breathing problems or sun allergies should apply for this scene.

When they are not shooting, you will be able to remove the layers so we’re recommending people wear tank tops under their clothes.  They will do everything in their power with fans, misters and plenty of water to keep everyone hydrated and cool. 





(posted originally by Mosser Casting)

How to Triple Your Odds of Getting Music Media Coverage

This post was written by guest contributor Bob Baker,

I view getting media coverage as a two-way exchange. You have something of musical value to share with the world, and the media source has a vehicle to help you reach more fans. However, you’d be surprised by the number of musicians who expect the media person to bare the brunt of the workload in this transaction.

Want an example?

For 10 years I was the editor and publisher of my own music magazine in St. Louis, Missouri. Over that decade, I wrote about or assigned stories on hundreds of bands. I was regularly amazed by the roadblocks that so many artists put up when I wanted to give them exposure.

I’d meet some band members at a show and express my interest in writing about them. They would seem excited about the prospect and promise to send a press kit that I could hand off to a writer. And guess what? Often, that press kit never came.

Then there were musicians who called or came up to me in person to gripe about never having been covered in my magazine. Typically, I’d ask them if they had ever sent me something on their band or followed up with a phone call or email to my office.

Usually, the answer was, “Uh, well … no.”

You’d think this would be a no-brainer, but it’s not. Too many musicians feel they deserve press coverage just because they exist or because they believe they’re the coolest thing since Menuto.

But every so often I was blown away by an artist who not only created good music, they also understood the two-way exchange of media exposure.

These artists would call and say, “Bob, I really enjoy your magazine, especially that recent article on …” (A little ego stroking doesn’t hurt.) Then they’d pitch their act with a newsworthy story angle.

But the really smart ones asked one key question: “What can I do to help you make this happen?”

Take a look at that question again. It doesn’t ask me to do extra work or jump through hoops to provide the coverage. In fact, it shows that the artist is willing to supply me with whatever I need to get the job done. Ask that question and you’ll triple your odds of getting media exposure!

And when I say “media exposure” I’m not just talking about traditional journalists with newspapers, magazines, radio programs and TV shows. This exact same principle applies to bloggers and podcasters, as well as people who can book your band for live events.

Most people in the music biz are overworked and under paid. If you help make their jobs easier — by providing quality music, photos, artist bios and good story ideas — the media will reward you with the exposure you deserve.

(This post is adapted from Bob’s PR package called “Killer Music Press Kits – Deluxe Edition.” Link: )

Bob Baker is the author of “Guerrilla Music Marketing Online,” Berkleemusic’s “Music Marketing 101” course, and many other books and promotion resources for DIY artists, managers and music biz pros. You’ll find Bob’s free ezine, blog, podcast, video clips and articles at

Friday, July 8, 2011

'Steel Town' casting; 'Avengers' in Pittsburgh

"Steel Town," formerly titled "Still I Rise," will hold an open casting call for extras this weekend for the movie starring Maggie Gyllenhaal, Viola Davis and Holly Hunter.

Shaun Duffy Casting, based in New York but operating out of Pittsburgh for this project, is looking for roughly 800 people for a big scene to be shot on July 18. Potential extras should be 8 years old and up, with children and adults of all ethnicities needed.

Hopefuls should bring a non-returnable photo, either a head shot or a full-length body shot, to the Radisson Hotel, 101 Radisson Drive in Green Tree (ZIP code is 15205 if you're doing an Internet map) from 9 a.m. to 8 p.m. Saturday and Sunday.

Extras, who must be legal U.S. residents, will be paid minimum wage if hired.

"Steel Town," which has kept a low profile, will be filming through late July. The movie, being directed by Daniel Barnz ("Beastly"), is about two mothers who team up to make a difference at a local school.

'Avengers' news

The Pittsburgh area is getting a small slice of "The Avengers," Disney and the Pittsburgh Film Office have confirmed.

The production will do what it's calling "secondary filming about an hour outside Pittsburgh but no actors will be there." Even without any or many cast members, "Avengers" will be in Western Pennsylvania at the same time as "The Dark Knight Rises" is shooting, making for a superhero double daily.

"The Avengers" movie will unite a galaxy of superheroes played by Robert Downey Jr., Samuel L. Jackson, Chris Hemsworth, Chris Evans, Mark Ruffalo, Scarlett Johansson and Jeremy Renner. It's targeted for a 2012 release.

Read more:

Saturday, April 16, 2011


Alto Lounge

728 Copeland Street
Pittsburgh, PA 15232

Call Time 8am

Bring friends, if under 18 must have parents present.

Be prepared for a 6-7hr day

Bring 3 outfits.

regular club apparel

*no logos, no pinks, no reds, no blues, no stripes*

Sunday, February 27, 2011

How To Put Together A Winning EPK

How To Put Together A Winning EPK

by Tone Milion

A&R Consultant/President

Famous Rebublic South

I get a lot of submissions from artists every day, I listen to the music and on occasion I find one that catches my ear. When this happens, if the artist didn't include one already, I send a follow up email to ask the artist to submit an EPK so that I can get a better idea of the artist's marketability and what people are saying about him/her. Learn this now: "In this industry marketability and branding make the difference between lasting success and complete failure" I will talk more about marketing later in the series,but for now let's look at what an EPK is:

The term EPK is an acronym for Electronic Press Kit. Don't be overwhelmed by this term boys and girls, an EPK basically just consists of the background story of you/your group, a "gig sheet" (short resume' like summary of venues you have played/radio stations that have played your music), "good" quotes from critics about your music/live shows (Notice I said "GOOD" quotes, if a critic tells you your music sounds like a cat being put through a blender you might not want to include that one, got it?...good.), a couple of professional photos, and a sample of your work (usually your BEST song/single). You will use this to send to blog editors, magazines,college newspapers, your local newspaper, radio station PD's (Program Directors), A&R reps, club promoters, basically anyone else who has a pulse, two ears that work and is willing to listen to your music and then play it/allow you to perform it for others in their venue. Now that we know what an EPK is let's talk about what goes in it.

Your background information should be minimal at best, include where you are from, maybe a few of your musical influences and leave it at that. No need to mention the time you sang "I'm A Little Tea Pot" in the kindergarten play, no one wants to hear about that. No seriously, don't do it. Try to fit it on your "one-sheet" as discussed HERE, When talking about your sound here are some important questions to answer: Who does your sound make the listener think of? How would you describe your sound? Whoever is reading your EPK should be able to get a feel for your sound just from what you write here, so be vivid in your description. Put a lot of thought into what goes here, remember this: "A&R's have very short attention spans because we have so much on our agenda everyday" so if you don't catch their eye in the first 45 seconds, chances are you've lost them and your EPK will be taking a one way all expenses paid trip into the GMail trash can.

A winning EPK should also speak for YOU, and answer the question What makes you stand out from the hundreds of thousands of other artists in my inbox? What individual experiences do you bring to the table? why should the A&R risk their career and stand behind you? It's your job to prove to your reader that you are the next big thing and therefore worth the quarter million dollars it will take to market you to the waiting public. Show the A&R that you already have a brand established on your own and all you need is that extra "push" that a major label with major $$$ can provide. You must make the executives that will see your EPK feel that you're worth the risk/investment that comes with signing new talent. That covers your "one-sheet" now the next most important piece of a Winning EPK: The Pictures.

Your pictures can make or break your chances...when an A&R looks at your pictures he is looking to see that you are "marketable" that is "Can we sell you?" Now don't look at the screen like I said something about your mother, I'm giving you the facts. We're all here to make money right? Right....and in order for the label to make money from its investment in an artist the artist needs to be marketable. Now to simplify what Marketability is without "throwing shade" (well u know me...maybe a little shade) let me describe marketablilty like this.

Guys, have u even been riding in your car and seen a beautiful woman and almost had a wreck trying to see where she was going? She was marketable, you found her both visually appealing and enticing enough to want to see what was going on with her. Ladies have you ever seen a guy that couldn't dress, his clothes were wrinkled, his breath smelled like "Wait a minute motherf#*!" and he's all in your face sayin "H" words until you kindly tell him you're a lesbian and go about your business... He is NOT marketable. Much the same when you submit a picture you want to appear attractive and inviting thus making the A&R want to see what's going on with you.

Here are a few photo types I would NOT advise including in your EPK:

  • Club Photos taken by the drunk "picture man" for $10
  • Photos taken in a hotel
  • Photos taken by you...unless you're a professional
  • Photos from Facebook, Myspace, Twitter etc with half of your butt/breasts hanging out
  • Mug shots (You would think I wouldn't have to say that...but I do.)
  • Portraits from Sears ( I know you've got a "hookup", but dont do it)

In most cities there are professional freelance photogs that will do a shoot for $250 or less for a package including multiple outfits, poses and locations. You can find them in your local phonebook or even through referrals from wedding planners, modeling agencies and other business that use photographers. Make sure you get a copyright release form because legally the photographer owns the copyright the moment they take the shot. Before you leave the shoot be sure to get a CD with the High Res images on it. So we've covered your background and photos, now let's talk about the "gig sheet".

Your "Gig Sheet" should read like a resume of your most recent performances. You can list the venues, and approx. date (MM/YYYY format is fine here). This is also a great place to include any promo radio appearances you've done/what stations have added your single to it's rotation. You can include the "good" quotes about your music here as well. Be sure to put all of this together on a .pdf file because this is best for showing your high res images in all their glory.

In closing I just want to remind you to keep it simple. You don't need to try to hype your self by saying you're the "best rapper alive" or "The King" A&R's hear that ALL THE TIME so we take the drake approach "Yeah we hear you talking, but we just don't believe you". I couldn't put it any better than songwriter Fly Nate

(@flynate for those of you with Twitter) when he said "People love my work so much that my name is spreading like wildfire" He would tell you just like i did to let the music speak for itself.

Saturday, February 19, 2011

How to Successfully Grow Your Fan Base Using Facebook (And Not Spend a Dime)


When it comes to your music, people are predominantly concerned with one thing - not what your music means to you, but what your music means to them. This is one of the most important lessons any musician can learn.

The birth of social networks allowed fans an insight into the more mundane aspects of celebrity; as a result, this sparked a newfound intrigue into their normality. However, now that everyone from the drummer of the Black Keys, to the State of North Korea are all Twittered up, the days of dietary intake being shareable news are long gone.

The tides have turned.

Now it’s time for the artist to use social networks to learn about their fans. Facebook is actually a great place to gain vital insight into what makes your fan base tick. It’s like a customer survey at your fingertips.

4 Ways To Grow Your Fan Base:

1. REELING THEM IN. Someone liking you on Facebook doesn’t make them an instant fan. It really means very little unless you can draw them further into your world. When you post on your wall, those who have opted in to your page have the option to like it, or go one further and make a comment. They could have liked you in the first place for a plethora of reasons, and your music might actually be further down the list then you think.

They could have thought your photo was cute, that your band had a cool name, or that you might be the band they heard on the radio. If you love a band or a song, then post a link to their video and briefly say how much you love it. If they like it too then then that is step one in to getting them to also connect to your music.

2. UNDERSTAND THE LIKE. When a post of yours is liked, it is important to take a step back from that. Don’t think too highly of yourself for saying something that enticed a click on the “Like” button. Instead, understand that they have clicked that button because, in some way, they feel your post defines them. They are endorsing you, putting their name to your comments. If you get an above average number of likes, it’s not just because you said something clever, it’s because your fans are responding to something they want to associate with. Look for patterns in this and hone in on them.

Was it something funny, meaningful, or controversial?

This is important because you want to get fans coming back to your page. You can reel them in with something that interests them, and when they are there, they will want to look deeper. Maybe even download an MP3, or go one further and purchase something.

For instance if you were outraged by the Prop 8 result, or thought an SNL skit was funny, you can bet that a portion of your fan base does too. If you are passionate about something, people will relate and interact.

3. TAP INTO THEIR EMOTION. A post that makes them laugh, think, or invokes some sort of emotion will make them much more likely to check out what you have to offer musically. Posts that simply promote a review of your work or continuously plug a show are great for you core fans, but your core fans should have already been captured and signed up for your mailing list. The casual clicker on Facebook is not that dedicated yet. Boring generic plugs will quickly look like spam amongst other people genuinely sharing things that captivate them.

“I’m going to Las Vegas this weekend, where should I stay?” will inspire people to join in the conversation far more than “Check out our review on this music blog…”

4. DRAW THEM IN DEEPER. Everybody is faced with the same fears about life and these themes are universal. They are looking for a place to belong and feel safe, and ultimately be reassured that everything is going to be OK.

Somehow you, through both your music and your connection to you fans, have to be uplifting. It can be uplifting because they see that there are others like them, who share a common view, or mirror the pain they are going through. It can be uplifting because it makes them laugh. It can be uplifting because they are looking for something spiritual and you provide an insight into that. Or alternatively, they are sick of religion and looking for something anti-theist, and you seem to speak their mind.

Again, to reiterate the opening statement, this is where you have to be aware of what your music means to other people and not just yourself. Don’t be afraid if people take offense to what you say, it just means they never really got your music in the first place. They were never going to be a fan. But for every one that walks away because they didn’t relate you, will find 10 that were drawn in deeper, because they do like what you stand for.


Your music is an extension of you, and the best music translates because it becomes a conversation with the fan. The more they understand and relate to your thoughts and feelings outside of the music, the deeper their conversation with the music will become.

So pick what you say wisely; don’t bombard people with “Buy our album” posts. Ease them in with something that gets their brains stimulated. If you can do that, then you are on the way to ultimately making your fans believe that - liking you is intrinsic to making them look cool. More importantly, you will have successfully set in motion the most powerful tool in marketing - word of mouth.

DO’S and DONT’S:

Don’t inundate your fans with endless plugs for your new single or release. It’s too likely to be seen as spam.
Do share info that is relevant to your fan base, but not necessarily directly relevant to you music. A link to a news story that you relate to for instance. Offer a small concise commentary. Fans like to feel connected to your tastes, especially if you share the same taste as theirs.
Do ask your fans their opinion on things - inspire debate and don’t be afraid to chip in a reply here and there, but don’t overdo it; you don’t want 23 comments on a post, and 20 of them are yours.
Don’t talk about yourself all the time - how the world will soon realize your greatness or how hard it is not being recognized for you art. No one cares except your mama (and she’s probably sick of it by now).
Do speak your mind. If you have a strong opinion on something, say it. However, read your post clearly and make sure your point is well structured, and if you are drunk, it may be best to leave posting it until the morning.

Robin Davey is a Musician, Film Director and Producer born in the UK and now residing in Los Angeles. He was inducted into the British Blues Hall Of Fame at the age of 23 with his band The Hoax. His current band The Bastard Fairies achieved over 1 Million downloads when they were the first band to release an album for free via the internet in 2006. As a director he won the best Music Video award at the American Indian Motion Picture Awards. His feature documentary The Canary Effect - an exploration into the hidden Genocide of Native Americans, won The Stanley Kubrick Award For Bold and Innovative Film Making at Michael Moores Traverse city Film Festival in 2006. He is also head of Film and Music Development at GROWvision - A full service media, management and production company.

Columbia Pictures feature film 'Men In Black 3' casting background performers in New York

Columbia Pictures feature film 'Men In Black 3' casting background performers in New York

"Men In Black 3" is currently on hold due to script rewrites.
Shooting will continue on March 23, 2011.

Men In Black New York Casting CallMen In Black III will hit theaters May 25, 2012

Sony Pictures

The feature film Men In Black III is currently filming in New York and the extras casting director is currently seeking the following:

• SAG Caucasian women to play 1960s young, attractive secretary types.

• Must be available for filming between February 28 and March 9.

• Must have natural-looking hair with no obvious highlights or roots.

• Please do not submit if you've previously worked on the film.

Email a recent picture and contact information to

Write "SAG Secretary Types" in the subject line of your email.

Men In Black III is being directed and co-produced by Primetime Emmy Award winning Barry Sonnenfeld, who has helmed such films as Get Shorty, Wild Wild West, and of course the first two installments of Men In Black. Steven Spielberg is also on board as co-producer with Walter Parkes and Laurie MacDonald of the Los Angeles based Parkes/MacDonald Productions.

Ethan Cohen has penned the script, and rumors of him being replaced by David Koepp were untrue, although Koepp did some brief work on the script. Cohen's writing credits include Madagascar: Escape 2 Africa, and Tropic Thunder.

The principal actor casting director is auditioning actresses in their 20's to play a younger version of Emma Thompson. The character has a good sense of humor, is alluring, and is very secure with her level of intelligence.

Principal Actor Casting

Please submit photos and resumes by mail only.

No phone calls or personal drop-offs.

New York:

Ellen Chenoweth

161 Avenue of the Americas

11th floor

New York, NY 10013

Extras Casting

New York:

Grant Wilfley Casting

123 West 18th Street

8th Floor

New York, NY 10011

Production Companies:

Do NOT send photos and resumes to the production companies (they will most likely end being thrown away), they do not cast the films. They hire casting directors who sort through the thousands of submissions.

Men In Black 3 Production Office

Kaufman Astoria Studios

34-37 36th Street

2nd Floor

Astoria, NY 11106

Columbia Pictures

10202 W. Washington Blvd.

Culver City, CA 90232

Amblin Entertainment

100 Universal Plaza

Bldg 477

Universal City, CA 91608

Right Coast Productions

289 Springs Fireplace Road

East Hampton, NY 11937

Parkes/MacDonald Productions

1663 Euclid Street

Santa Monica, CA 90404

Producers: Steven Spielberg, Walter Parkes, Laurie MacDonald, Barry Sonnenfeld

Director: Barry Sonnenfeld


Will Smith

Tommy Lee Jones

Josh Brolin

Jemaine Clement

Emma Thompson

Nicole Scherzinger


The Men In Black duo of Agent Jay and Agent Kay are back in action. When the world is threatened by an evil alien, Agent Jay travels back in time to 1969, where he teams up with the younger Agent Kay to stop an evil villain named Boris (Clement) from destroying the world in the future. Brolin will play the younger version of Jones' Agent Kay character.

Wednesday, January 12, 2011

George Clooney film 'The Ides of March' to cast hundreds of extras in Ohio and Michigan

Evan Rachel Wood Ryan Gosling The Ides of MarchEvan Rachel Wood and Ryan Gosling play Campaign workers in "The Ides of March"
AB Media

Academy Award winner George Clooney grew up near Cincinnati, Ohio and now he will be directing his fourth film there titled "The Ides of March". Clooney, who will also star in the film, co-wrote the screenplay with his Smoke House Pictures partner Grant Heslov and Beau Willimon. At one point the film was titled "Farragut North," the name of the 2008 Off-Broadway play by Beau Willimon for which the drama is based on. However the film is now going by the title, "The Ides Of March". The term Ides of March is best known as the date that Julius Caesar was killed in 44 B.C., stabbed to death in the Roman Senate.

Ryan Gosling plays the lead role of an aggressive first-time campaign staffer who gets caught up in the unfair tactics of political trickery. Leonardo DiCaprio, who is executive producing the film, originally intended to play the role, but Clooney ended up going with Gosling since DiCaprio has a commitment to playing the lead in Clint Eastwoods film "J. Edgar".

Filming on "The Ides Of March" begins February, 2011 in Cincinnati, Ohio, where over two dozen locations will be used. The production will move to Detroit, Michigan in March, 2011. No release date has been set, however this will likely be one of the most highly anticipated films of 2012 with heavy Oscar consideration. Exclusive Media Group and Cross Creek Pictures are financing, while Sony Pictures Entertainment will handle distribution.

The film's extras casting directors are hiring numerous extras and some small speaking roles in both Cincinnati and Detroit. People located near those metropolitan areas who wish to work on the film should submit a recent color snapshot and contact information to the extras casting directors below. There will also be open casting calls that will be posted here as soon as they are scheduled.

Extras Casting


Jacquie Loughery
The Ides of March Extras
700 West Pete Rose Way
Cincinnati, OH 45202


Ryan Hill
The Ides of March Extras
28782 Everett Street
Southfield, MI 48076

Principal Actor Casting

See the post titled Headshot and Resume Information regarding how to submit for acting roles.

Please submit photos and resumes by mail only.
No phone calls or personal drop-offs.

New York/Los Angeles:

Ellen Chenoweth
The Ides of March Casting
161 6th Avenue
11th Floor
New York, NY 10013

Production Companies:

Do NOT send photos and resumes to the production companies, as they will most likely end up being thrown away. They do not cast the films, rather they hire casting directors who sort through the thousands of submissions.

Production Office
The Ides of March Films, Inc.
400 Monroe Street
Suite 490
Detroit, MI 48226

Sony Pictures Entertainment
10202 W. Washington Blvd.
Culver City, CA 90232

Exclusive Media Group
9100 Wilshire Boulevard
Suite 401 East
Beverly Hills, CA 90212

Cross Creek Pictures
1424 N. Crescent Heights Blvd.
Suite 57
West Hollywood, CA 90046

Vendome Pictures
9320 Wilshire Blvd.
Suite 204
Beverly Hills, CA 90212

Smokehouse Pictures
12001 Ventura Place
Suite 200
Studio City, CA 91604

Executive Producers:

Leonardo DiCaprio
Stephen Pevner
Nigel Sinclair


George Clooney
Philippe Rousselet


George Clooney


Ryan Gosling - Presidential Campaign Press Secretary Stephen Meyers
Evan Rachel Wood - Presidential Campaign Intern Molly Stearns
George Clooney - Virginia Governor Mike Morris
Philip Seymour Hoffman - Paul Zara
Paul Giamatti - Presidential Campaign Manager Tom Duffy
Marisa Tomei - New York Times Reporter Ida Horowicz
Max Minghella - Political Campaign worker Ben Harper


A political drama about campaign dirty tricks set in Des Moines, Iowa, just weeks before the state’s Democratic caucuses officially commence. Stephen Meyers, a go-getting young press secretary working on the Presidential campaign of front-runner, Governor Morris, metamorphoses from innocent idealism to bitter emptiness when he outwits the savvy political veterans who would destroy him. Hoffman plays Paul Zara, Stephen’s battle-hardened boss, and Wood plays Molly Stearns, the 19-year-old sexually assertive campaign intern. Tomei plays Ida Horowicz, a New York Times journalist who’s as professionally manipulative as she is easily manipulated. Giamatti plays the role of Tom Duffy, the corrupt campaign manager for Morris’s rival.