Wednesday, April 30, 2014
Exel Management wins its second award! (The first was in 2012) Official Press Release below:
FOR IMMEDIATE RELEASE
Exel Management Receives 2014 Best of Pittsburgh AwardPittsburgh Award Program Honors the Achievement
PITTSBURGH April 23, 2014 -- Exel Management has been selected for the 2014 Best of Pittsburgh Award in the Talent Agencies & Casting Services category by the Pittsburgh Award Program.
Each year, the Pittsburgh Award Program identifies companies that we believe have achieved exceptional marketing success in their local community and business category. These are local companies that enhance the positive image of small business through service to their customers and our community. These exceptional companies help make the Pittsburgh area a great place to live, work and play.
Various sources of information were gathered and analyzed to choose the winners in each category. The 2014 Pittsburgh Award Program focuses on quality, not quantity. Winners are determined based on the information gathered both internally by the Pittsburgh Award Program and data provided by third parties.
About Pittsburgh Award Program
The Pittsburgh Award Program was established to recognize the best of local businesses in our community. Our organization works exclusively with local business owners, trade groups, professional associations and other business advertising and marketing groups. Our mission is to recognize the small business community's contributions to the U.S. economy.
SOURCE: Pittsburgh Award Program
Pittsburgh Award Program
Wednesday, April 23, 2014
Extras ages 18-70 years old needed , , in the Fox Chapel area for "Fathers and Daughters". COULD BE AS EARLY AS 530AM!! MUST NOT HAVE WORKED ON THIS MOVIE YET. MUST HAVE A CAR TO GET TO SET. PLEASE EXPECT 12-14 HOURS.
If interested in being booked, please send a recent picture with your name, age, phone number and sizes (see below) to fathersanddaughterscasting@
Sizes needed in email:
Men - Suit (Chest), Waist
Women - Dress/Pant
Friday, April 18, 2014
By Greg Apps | via backstage.com
You enter this infertile cavern, fully focused on your character. You stand on the mark, taking an eyeline to the reader, just off camera. The reader—they work with you, they help you achieve your character. In your moment of terror, they are the supportive sight in the space.
You take a singular eyeline because you can concentrate solely on delivering a great audition. You find it strangely relaxing, and you don’t have to worry about anything other than the dialogue.
Take a moment to think of this: How many conversations do you have in real life where you look at someone never moving your eyes off theirs?
Now see it from my where I sit—from the perspective of the casting director.
The frame size is the same for every person auditioning for a role. We shoot every audition for a particular character in the same way. Consistent framing allows us to compare auditions and actors effectively.
If you adopt a singular eyeline to the reader, then you have one point of focus. The character you have created is stagnant.
When we view auditions, we see actors of the same sex, the same age, the same look, doing the same dialogue, and we shoot them from the same angle and in the same frame. If you add to all those similarities, the same eyeline as every other actor, now all the auditions start to look… well, the same.
You do not ignore the reader’s gaze. You don’t need to look all around the room. Simply be aware that the defense mechanism of many actors in the heat of the audition is to look solely at the reader.
All the time, I see actors place their toes obediently on the mark, face the reader like they were a firing squad, and then attempt to relax and deliver dialogue in a natural manner.
Take five nanoseconds before you start your audition, close your eyes, picture the setting of the audition scene. See the trees, or the cars, or the other restaurant patrons.
See them on both sides of the camera.
If you can see things in the room other than the reader, and if you establish other eyelines, you will perform in an environment that transports you and us to the location of the scene.
Tuesday, April 15, 2014
Coco Rocha has revealed that it took six months for her to be allowed to cut her hair.
The Canadian supermodel - who chopped her long locks into a chic pixie bob last week, showing off the shocking change on Instagram - admits it took her almost half a year to be able to execute the new look because she had to ask the big bosses in the fashion industry for their permission first.
Speaking to E! News, the 24-year-old said: 'I've been trying to cut my hair for the past six months weirdly enough. You'd think that would be easy to do, but in my profession, supposedly you have to ask everyone for permission! So finally I have cut my hair.'
Pixie cut: Coco Rocha admits it took her almost half a year to be able to execute the new look because she had to ask the big bosses in the fashion industry for their permission first
No turning back: 'Today I am still happy with it, I have no regrets,' the Canadian model said. 'I love it, it will probably never grow back. It's the best feeling ever'
However, the star said she is grateful for the wait because it gave her time to decide whether she really wanted to carry out the drastic change, and she's now adamant she'll never allow it to grow back.
She explained: 'I think I honestly needed that time to think because one day I'd be like, "Yeah I'll cut it," and the next day will probably regret.
'But today I am still happy with it, I have no regrets,' she said. 'I love it, it will probably never grow back. It's the best feeling ever.'
It's not the first time the powers that be in the fashion industry have asserted their authority when it comes to models' hairstyles.
'You'd think it would be easy to do, but in my profession you have to ask for permission!'
Victoria's Secret Angel Karlie Kloss famously got her hair styled into a cute bob and bangs, just before strutting her stuff in the lingerie giant's runway show.
But after fans apparently complained the look 'wasn't sexy', hairstylists concealed her new cut with extensions.
Coco Rocha, well known for her head of fiery hair, was given her 'Tilda Swinton-like' pixie bob with the help of Allure magazine.
During the experience, she posted live picture updates on Twitter, writing: 'The first cut is the deepest.'
Dramatic change: During the experience, she posted live picture updates on Twitter, writing: 'The first cut is the deepest'
Damage control: 'With my job, my hair is constantly dyed and fried and it won't grow any longer, so I decided it was time to get rid of it,' she told Allure
Hair stylist Anh Co Tran, who has worked his magic on Ginnifer Goodwin, Vera Wang and Joshua Jackson, did the honors.
As the transformation progressed, Ms Rocha tweeted: 'Tilda' alongside a picture of the crop - which indeed looks a lot like actress Tilda Swinton's cut.
Ms Rocha previously told Allure that she wanted a change mainly to rid herself of damaged hair.
'With my job, my hair is constantly dyed and fried and it won't grow any longer, so I decided it was time to get rid of it,' she told Allure.
'This almost didn't happen today because I was supposed to do a shoot, but I was just like "No, this has to happen!"'
Read more: http://www.dailymail.co.uk/femail/article-2401125/Model-Coco-Rocha-reveals-took-SIX-MONTHS-permission-fashion-industry-chiefs-cut-hair.html#ixzz2yvXvLVoT
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Posted by Alan Lee at 12:47 AM
Friday, April 11, 2014
It is common for real agencies in small markets to have relationships with other agencies in larger markets, either in the US or overseas. They act as filters for these larger markets, finding, preparing and sending models to them that they believe are suitable for those markets.
Whether this is the right approach for you is a matter of your own circumstances.
The positives: a good "mother agency" can save you the trouble of going if you are not suitable; can prepare your portfolio and give you experience at modeling to help you be successful in the larger market; can open doors for you when you arrive, so you are not just one more pretty face at an open call, and can arrange for support for you when you arrive at the larger city. In addition, most of them can get you local work until you are ready to go on to the larger market.
The negatives: a "mother agency" gets a cut (typically 5% to 10%) of your earnings from the larger agencies. In times gone by it used to be that the mother agency commission didn't come out of your pay, but from the agency commission. Now it is common for "mother agencies" to take their cut from the model, who has less bargaining power. That's both good and bad for the model: it costs them more money, but makes it less likely that they will be rejected by an agency that doesn't want to fee split with a mother agency, which is especially likely with the more commercial agencies.
So why pay that money? It's a lot cheaper to get some pictures done, send them to agencies or go to open calls on your own. You will have to do all that anyway, but you won't have to pay someone a hefty part of your earnings just to get you in an agency door.
Here's when it makes sense, and when it doesn't.
If you are in a moderate sized market city, working with a booking agency there who can also get you prepared for "the big city" is useful.
If you are living in an area with a good local mother agency who you can see routinely, who can take the months to develop you and make you ready for New York, and who can open doors for you at the other end, it makes some sense. They are your safety net at home for when the big, bad booking agency in the big city doesn't seem to be doing what you need, or you don't understand what is happening to you. Your mother agent will be one who knows you, knows the culture you came out of, and can help you and your family understand what is happening.
When it doesn't seem to make sense is when you are already living in the major market city or when the "mother agent" is in the same city as the market you want to get into. In the first case, you can go to the open calls on your own, seek the advice of the agencies you see, and use it to find photographers or whatever the agencies tell you you need. You don't need a mother agency, you just need to know where the agencies are and how to approach them. You are already there.
In the second case, if you are hundreds or thousands of miles from the "mother agent" they can't do an effective job of helping you more than you can do for yourself. Unless you are willing to move to where they are and work with them for months (very expensive, and unnecessary) they won't do much more than give you generalized advice and have you go through the motions of "development". A good mother agency must have a long term relationship with the model, must know the model very well, and know their family very well - or there is little use in having one.
There is an exception: where the model and the "mother agency" are both in remote areas but the mother agent has good contacts in areas, such as overseas, where the model might want to work. In this case the mother agent can help a lot with understanding the demands of working in a different culture, and can smooth the legal and cultural difficulties that models will face.
The mother agency system developed to deal with two problems: moving qualified models up from small to larger markets when they were ready, and helping people who didn't understand the modeling world to work within the system. The first of those remains valid and common. Models in Dallas, Denver and San Francisco all have a smooth access to New York, Los Angeles and Europe by using their home "booking agency" as a mother agency.
A little commonsense goes a long ways. Ask yourself some questions:
1. Does the mother agency really have an opportunity to work with me for a long time and really get to know me and my problems?
2. Does the mother agent say she has years of work as a booker in a major market? If so, why aren't they bookers now, making a lot more money? (Note, there can be good answers to that question: lots of people get burned out on places like New York and want to move somewhere they can have a more normal life. Others get fired and hang around the industry, hoping to trade on the appearance that they can make hopefuls into stars.)
In this time of ready access to information it's smart to ask, "Why do I need to pay for this?" when so much information and so many support services are available free to models.
Have I already tried on my own and failed to get representation? Have I sent pictures to the agencies that interest me, gone to the open calls, and it didn't work? Then, after all that, perhaps some personal guidance can help.
The bottom line?
If you are already in a major market city, you don't need a mother agent to get into other agencies in that city.
If someone wants to be your mother agent and they are hundreds of miles from you, you don't need them unless you want to go directly overseas to work.
If you are signed with a good booking agency in your own city that also acts as a mother agency, it can be helpful.
Professional Agency Modeling: How it Works
If you are reading this, it’s because you have been signed by a model agency or you want to know more about what professional agency modeling is really about. The links below tell you what you need to know to be successful in this business.
In the smaller markets most real model agencies service the entire range of modeling. The market doesn’t allow specialization; the overhead of an agency means they have to try to book every kind of modeling job they can. But in a market as large and diverse as
New York City, agencies tend to specialize. Either they service niche markets or they have divisions that specialize in markets segments. Most “commercial print agencies” (or commercial print divisions of an agency) for instance do not do fashion work, don’t staff music videos or national TV ads, at least as a major p art of their effort. Other agencies or divisions do that – and the model (or model/performer) may need to be represented by more than one agency for different market segments that they want to target.
New York City it is also generally true that commercial print agencies do not sign their models to “exclusive” contracts. Print work is much less intensive than editorial fashion work: they know they probably cannot keep you busy. They also know that commercial clients tend to call more than one agency; that they get some calls but not all of them, and that it is usually in the best interests of the model to “freelance” – to work with more than one commercial print agency if they can. This can lead to some potential conflicts, so procedures (discussed below) have been worked out to deal with this. Generally the agency would prefer that you not be listed with several others, but they also understand that from your perspective it is a reasonable thing to do.
The first step in getting a modeling job is normally a “go see”, where you meet the people who are actually doing the hiring. When you get that First Call to go to one, what should you do? What do you need to do at the go-see? We tell all in Before and At a Go-See. Then it’s wait and see if you are lucky. Sometimes it’s hard to tell: After the Go-See. Sooner or later the miracle happens: they are interested in you, and you get booked! Then you get to do what models do: The Shoot. And finally you get to the payoff for all this hard work. You get a paycheck! What should you expect about Getting Paid?
Your First Call from the Agency
Usually the first time you will hear from your agency after your comp is done is when you fit the requirements for a modeling job, and you are sent out on your first “go-see” or “casting.” This is the beginning of the process - and if you handle things well from the point of that first call you greatly improve your chances of success.
When you get a call from your agency, you need to call them back quickly. Jobs often arise and are cast in a matter of hours – if you haven’t returned your agent’s call, you may lose the jobs, even if you have been specifically requested by the client. Sometimes clients select several models for a single assignment, call them, and give it to the first model that calls back to confirm. If you don’t have a way (beeper, cell phone, good answering service that will track you down) to find you quickly, you run the risk of losing a lot of jobs you otherwise could have.
So, what do you need to do in that call? Make sure you get all the
information you will need to be successful at the go-see. Your first problem is whether you even want to take the job (sometimes you may not). So you need to know:
1. What is the job for: who is the client and the product?
2. When is the shoot?
3. Where is the shoot?
4. What does it pay?
5. Does it require wardrobe that you don’t have?
6. What will you portray, and how will it be used?
If you get through all that, don’t have any conflicts or objections, you need to know about the go-see itself.
1. Where is the go-see?
2. When is it? (Usually it is a range of several hours - you want to be there near the beginning if possible.)
3. What role will I be playing, and how do I need to be dressed?
4. Who should I see at the go-see?
You should ask all these questions and any others that may occur to you when you talk to your agent. If you don’t have a conflict with the go-see time, and tell your agency that you will be there, you are on your way to the next step in your modeling career.
Please bear in mind that you have just been given privileged
information. You should not share it with other models or agencies, and you should not take other people along with you to either the go-see or the shoot (unless you are a minor and need an escort).
Before and At a Go-See
If you get a call from more than one agency for a go-see, the general rule is that you should accept and tell the photographer/casting director that you are represented by the first agency to call. That is the standard practice in the industry, and should be accepted by all agents. There are some exceptions: when you have a contract with an agency that gives them preference (if you are called by several agencies for a job, and one of them has that preference clause in your agreement with them, you should tell the photographer you are represented by that agency regardless of what order the calls were received in. You should also tell the other agencies who call you that you are doing that, since they may know that they called you first. Another exception is if an agency gets a “name-request” from the client specifically for you. In that event, you should accept the go-see as represented by that agency, even if you got a call earlier (not a name request) from some other agency for the same go-see.
Bring your portfolio! If you have a wide selection of portfolio pictures, make sure to include some that show you as the casting director will want to shoot you. Do not include pictures that may be inappropriate for the client (for instance, don’t take a portfolio full of lingerie shots when “young mother” is what is being requested.)
You should arrive near the beginning of the go-see period. The mechanics of the selection process often favor those who are first seen; don’t let an opportunity slip away because you chose to go at for a go-see that runs from . Yes, you were “on time”, but as a practical matter you may be “too late”.
When you are at a go-see you are being evaluated for a p
articular role, usually very specific, that the client wants a model to play. Your agent should give you the details they know of for the shoot. If it is for “young mother” or “executive”, “sporty” or “active retired” or some other type you need to put yourself in that frame of mind and remember that you need to project that persona from the moment you open the door. The photographer or client needs to be able to visualize you as what they need to shoot – you should give them all the help you can. That means to dress in a way appropriate to the role, and take on the demeanor of a person in that role. You still need to be friendly and courteous, but always while acting as the person they are casting for.
If a mockup or drawing of the shot they intend is available, you should inspect it and practice (subtly) assuming the position and attitude shown. If they take a Polaroid, try to take on as much of the appearance and posture as possible of that drawing. Clients don’t always have great imagination; try not to require a lot of it from them to see you in the role they are casting for.
Usually what counts is what you look like, not how old you are. If the job requires the client know your exact age, your agency or the casting notice should say so. If not, do not list your exact age or birth year on the data sheet. Rather, list an age range appropriate to you in the role you are being asked to play (for instance: 27-32) and if birth year is required, select a year in the middle of that range. Exceptions include people under 18 (who should indicate exact, true data) and ads for tobacco or alcoholic beverages, which require that the true age of the model be over 25.
For contact data on the data sheet, list your agency phone number. Do NOT list your own phone or service. If there is a reason for the photographer or stylist to have it (sometimes there is) it will be provided by your agent.
Sometimes a photographer will attempt to renegotiate the terms of the deal (different st
art/stop times, different pay rates, additional usage of the pictures) either at the go-see or later, when you have been booked. In all cases you should decline to any such agreement and refer the question to your agent. Frequently these seemingly innocent questions have the effect of costing you a lot of money; it is your agent’s job to recognize when that is true and to protect your interests (and the agency’s interests as well).
It is not unheard of for a photographer or client to ask to book you direct, not through your agency. That is unethical, and they know it, but they will sometimes ask anyway. In all such cases you should politely decline and report the matter to your agency as soon as you can. Models who accept such offers may get that job, but agencies who find out about it will drop them immediately – and the word gets around.
Under no circumstances should you sign a release of any sort at a go-see. If asked to do so, politely say you have to call your agency for permission. Normally the photographer will back off at that point, but it is best to allow the agent to take on the “bad guy” role when this kind of thing happens. The model should remain friendly and polite at all times.
After the Go-See
What happens after the go-see? Most often, nothing. For most go-sees or castings the number of models sent by their agencies greatly exceeds the number who will be hired, so mostly the casting director will tell you they “will let you know,” and then you will never hear from them again.
But sometimes something better happens. You may be called back (you made the short list) one or more times, you may be put on “hold” (also called "option"), or you may be booked.
A call-back is simply another go-see for the same job, but this time knowing that somebody liked you well enough that they want to see you again. It isn’t time to break out the champagne, but it is time to st
art getting more optimistic. Your agent will advise you of anything special you should do to prepare for the call-back.
If you are put on hold, you have a very good chance of being booked. That means that the agency has selected you for the job but the job itself still may not happen, or may be postponed. It is also frequently true that a client will select more people than they really intend to use; you may be the first, second or third choice. Sometimes your agency will know when this is the case, sometimes they will not. If you accept the “hold” you give that client a “first right of refusal” on your services for that time slot. If something else comes along, you can have your agent call them and ask if they want to book you or release you, and they are obliged to do one or the other. If the “hold” hasn’t been released within 24 hours of the shoot it is customary for you to be paid for the job even if you didn’t do it.
Being “booked” is the brass ring you are in this business to grab. It involves an offer to your agent for your services, which is relayed to you. If you accept, you are obligated to do the job, though you may be able to cancel with 48 hours notice (sometimes less) without liability. The client is also obligated at that point, and once the time for the job nears you become eligible for cancellation fees if the job doesn’t happen.
You have been booked, the appointed time is near, and you are about to have a lot of fun. You should be relaxed and enjoy yourself – you are about to get to do what models all want to do.
But some rules apply at the shoot that you should be aware of – both to protect the substantial amount of money you are about to earn, and to make the client want to have you back again:
1. Be prepared. For men this means having a haircut (according to how you looked at the casting, or as directed to do so for the job), ideally about a week before the shoot. For women it means have your hair attractively styled in a manner consistent with the shoot. For everyone it means knowing before you get there what role you will play. Unlike fashion shoots, most commercial shoots require you to have a wardrobe appropriate to the shoot (a small selection of clothing and shoes that fits the role you will play). It should be clean, pressed and ready. Even if you have been told that there will be a makeup
artist present, bring your own makeup. Get a good night’s sleep!
2. Show up on time! This is the single most important rule of all. If you are late, you are liable for all the overtime you just contributed to – and at the huge hourly rates of other models, the photographer, stylist and others, you really don’t want to have to pay that. And “on time” doesn’t mean the time scheduled – it means 10-15 minutes earlier, so you have a chance to get your makeup on and ready yourself for the shoot. At the appointed time you need to be able to step out on the set, ready to shoot. If a makeup
artist is provided for complex makeup you can do this “on the clock” – but sometimes a scheduled makeup artist is cancelled, and you need to be ready if that happens.
3. Introduce yourself to everyone. Or at least everyone who seems to want to meet you, and that you won’t interfere with. These are the people who can make you look bad or good, who may or may not want to hire you for the follow-on TV commercial that goes with your print ad, for instance. Do what you can to help them look good in a pleasant way, and they will return the favor.
4. Do not discuss rates or terms. If someone on the set brings these things up, politely refer the question to your agency. Never change the terms of a shoot without your agent being involved.
5. Shoot what was booked. But no more than what was booked. If you are doing a TV commercial and someone asks to “just take a couple of still shots,” call your agency immediately. Never put yourself in the position of having to be the one to say no, but don’t allow any shooting beyond what was booked without your agent’s approval. If you do, you may give up rights to thousands of dollars worth of usage fees, especially if the photographer asks you to sign his release.
6. Sign the voucher. When the shoot is over you should fill out the portion of the voucher that shows how much time you worked, and the rights being purchased at the time of the shoot. Time is computed from the time the shoot is scheduled to st
art (if you were ready on time) until the last shot is taken. Lunch and other breaks are included in the time. When the shoot is shorter than what was booked, you get paid for the booked time. When it runs longer, you get paid for each 15 minutes extra that you worked. Use a little common sense in this – good relations suggest that a 61-minute shoot shouldn’t be billed at an hour and a qu arter. Sign the voucher, have the photographer or client’s representative sign it, and take one copy for yourself and one for the agency. Leave a copy with the photographer.
7. Releases. The voucher you just signed is a release, and no additional release is normally necessary. Nonetheless on some shoots there will be a reason for a separate release to be signed by the model. If you are given a separate release, make sure that the usage and duration specified on the release is the same as on the voucher. If it is, go ahead and sign it. If it is not, cross out any portion that is different from what the voucher says, write in the voucher’s usage restrictions and duration, and sign it. If the photographer objects to you making changes to the release, politely ask to call your agent. Never sign a release that has different usage or duration from what is on the voucher or you may be signing away thousands of dollars in future rights purchases.
That is what it’s about, right? You’ve made all that investment, done the right things, finished a shoot, the client loved you. So you’re rich, right?
Not so fast, Bucky!
You may have just earned a very hefty paycheck, but this isn’t quite the time to blow your money on a new car. There is this little, tiny problem.
Your agency will collect the money for you, and will normally pay you right after the client’s check clears (after taking out his commission of course - he has to make car payments too). But we missed a few steps along the way.
You have to take the completed voucher back to your agent, who uses it to compile and send an invoice to the client. If we get the next-to-worst-of-all-possible worlds, the agency sends the bill to the photographer, who forwards it to the ad agency, who sends it to the client. They take their usual 30 days to pay the invoice from the ad agency, which then eventually pays the photographer, who waits until his rent is paid and sends a check on to the model agency, which waits for the check to clear before paying you. It isn’t always that bad - sometimes the client can be billed directly, and sometimes they pay promptly on receipt of the bill. But don’t count on it. It is much more likely to take 60-90 days from the shoot before anyone gets any money.
And there is the (fortunately rare) worst-of-all-possible-worlds: the client doesn’t pay. He may go bankrupt, or simply be unable or unwilling to pay for any of a number of reasons. When this happens the agency will help you collect if that is possible, but that’s all they will do. If they don’t get paid, you don’t get paid.
A wise model spends money only when she knows she has it. This business can be tremendously lucrative, but it can also be a feast-or-famine nightmare; even if you just did a huge national job for a huge national corporation, it’s best to remember: no extravagance before its time!