Hollywood Brass Talks

Case study:
Jacob Jacobs moved to New York City 5 years ago. He arrived with an intense passion for his craft, and a powerful belief that he possesses the spark of greatness he has heard the Hollywood Brass Talks hosts debate about. But 5 years in the city, and a host of disappointments has left him wondering if there is any greatness in him at all. Should he hang on, because possibly his spark is simply misplaced? Or is it true that some people just don’t have it; and should he head back to Ohio to utilize that Economics degree for which he continues to repay crushing student loans?
 
Is this talk of greatness just an illusion? What should Jacob do?
 
Let’s get into it!

Paolo Minetti is fresh out of school. He went to a drama school and they did a good job teaching him how to get a job in a play. He is a bit befuddled by the film and television process and he really wants to crack that world. He has taken workshops and tried to find books that could give him an insight into the casting process for these jobs but is coming up short. He really wants to know about the process and the machinations of the casting director. How does he even get into the rooms? How does he build a career in film and tv without this knowledge?

 Lets get into it!

Case study Read By Claire Hernandez

Case Study: Carla Carlson 
After years of study in conservatory and private classes sharpening her tools, Carla Carlson is ready to start cutting. She has sought advice from industry experts, and is an avid Hollywood Brass Talks listener. So, she knows her next step is getting an agent – and, due to her lack of credits, she needs powerful evidence of greatness, and a cover letter that is eye-catching. But she has heard different accounts of what works. Carla has an actual list of tactics that have been suggested, but she wants to know which are effective, and which are urban legend.

Will someone review her list, and set the record straight?

Lets Get Into It!

Case Study: Read by Steven Holmstrom 

Amelia is an actress in Los Angeles. She moved here after high school and is celebrating her 15th year in Hollywood. She has had a few agents over the fifteen years and has booked a few non union commercials for little money, a print job or two. She has done a bunch of plays in small theaters around the city and joined a theater company.  She holds down a full time day job as a legal secretary. She takes acting classes at night and has worked with all the “Best” acting teachers in Los Angeles.  She has taken improv and movement classes. Classes in marketing the actor and find your type. She has always called herself an actor, but now she is starting to wonder. Is it time to give up her dream?  

Lets get into it!

Case Study : Read by Kenzo Jett

Phillip P. Phillips is a Los Angeles actor who is represented both Theatrically and Commercially in Los Angeles. His activity level is moderate, he books a decent amount, and has a relatively good relationship with his agents. No complaints.
 But, of course, Phillip wants to be able to quit his day job as a hotel reception desk worker, and he wants to level up. 

Recently, his activity level has decreased - and he is concerned. 

In conversations with his reps, it has been suggested Phillip needs to get new pictures. Phillip is willing to do so, but he shot new photos 8 months ago, paying $1600 – a session from which his agents chose the FOUR headshots they currently use. That session was the result of a nearly identical conversation. 

What can Phillip do? Find an even more expensive photographer? Refuse to invest more dollars in pictures? Get a facelift? Accept that management position at the hotel? Do headshots really matter? 

Let’s get into it!

Case Study: Read by Sonja Mobley

Joan J. Jones is a 42 year-old Los Angeles actress, who took several years off from a relatively productive career to raise her two children, who are now at an age where Joan has more freedom to audition and work. Her credits are mainly in television and commercials, although her passion is Theater. However, nothing on her resume is current, and she senses that Film and TV are the only things lucrative enough to justify the time’ away from her family. She has reached out to agents she once knew, but they have expressed little interest. What should Joan do? Is she took old to have a career? Should she start over, accepting co-stars and waiver Theater?

Is there an agent out there for her? How can she find them?

Let’s get into it.

Case Study:

Peter Frankel - Read by: Joe Canale - 
 
Peter has been a professional actor for the last 10 years. He has made most of his money in commercials with a sprinkling of theatrical jobs in between.  He has been able to pay his rent and drive a newer model car.  He gets to vacation every year and keeps his union health insurance, but in the last few years it has been harder and harder to make ends meet.  He wants to buy a house and start to build a family, but the work, while steady has not brought the same revenue in the door.  Is there more work out there he is not getting seen for?  Is it a problem with his representation or is it just impossible to make a living wage these days as a professional actor?

Lets get into it!

Case Study:

Omar El Dabe is an American born actor with an Egyptian heritage.  He was raised in New Jersey and went to an elite theater program.  He is versed in classical theater and has done a few commercials.  He has pretty good representation but sees that he gets into casting rooms most often to play terrorists or cab drivers.  He keeps hearing about diversity and inclusion, but what does that mean?   He doesn’t seem to get in for non-ethnic roles, at least, very rarely.  Is his name too ethnic?  Is casting really that narrow minded that they can’t see past it?  He has spoken to his agents, and they don’t seem to have any answers so he is bringing it to Hollywood Brass Talks. Is this something Mark and Stuart K can finally agree on?

 Lets get into it.

Case Study:

Lauren L. Lawrence moved to Los Angeles right after graduation from her MidWestern University Drama Program, and began her journey as a hopeful commercial, film, and television actress.

From day one, Lauren was represented by a boutique agency. How did she land them?

Well, she was approached by them at her senior showcase. They promised her the world, and she signed.

 After a year of loyalty, Lauren realized she and her agency were not a good match.

After leaving the agency, Lauren became a regular listener of Hollywood Brass Talks.

She knows about evidence of greatness, fame cards, and the dangers of co-stars and showcases.

But she needs a new agent, and doesn’t know any. What good is evidence if no one will watch it? How can she break through with no credits? 

Do cold calls really work? 

Was she wrong to leave her agent? Was she wrong to come to L.A.?

Is there action, or just Brass Talk?

Let’s get into it.

Case Study:

Catherine Lynn is a conservatory-trained actress who relocated to Los Angeles from North Carolina. 

From the moment she arrived in L.A. Catherine began hearing she had to establish a “brand”, 

something that was never mentioned in drama school. Catherine struggles with the concept. 

Does this mean she must choose comedy over action, both of which she loves? 

Is she stuck with the bob hairstyle she chose for ease of care? 

Even her name: Catherine Lynn- (she dropped her actual last name: Glick)- feels like a lack of branding, and a betrayal of her heritage. 

Catherine laments: “Can’t I just act? And, can someone please make sense of this branding-for-actors thing?”

Can we?

Let’s get into it.