Careers in Screen, Film and Television · Web viewRemember to keep a copy of your CV as a word doc you can update as you gain more experience/ skills, change your hairstyle, need

Australian College of Dramatic Arts7 Macquarie Place, Boronia Vic 3155 Telephone: 9720 6200

Essential Work – ResourcesCAREERS IN SCREEN, FILM AND TELEVISION 2

CAREER 3

WORKING ON SET KIT 5

AGENTS 6

CASTING GUIDELINES 15

STARNOW AND CASTING NETWORKS 16

FILM AND TELEVISION BOOK ARCHIVE FOR LOAN 17

FILM AND TELEVISION OCCUPATIONS 28

FILM TV COURSES 2018 15

PATHWAY COURSES 2020 16

ACTING CV AND COVER EMAIL 17

EXAMPLE CV 18

CV TEMPLATE 19

WRITING FOR GREAT CV 20

CHECKLIST FOR A GREAT CV 21

Are There Trading as the Australian College of Dramatic Arts 2021

HEADSHOT TIPS 22

LGBTQI+ SHOWS 23

TRANSGENDER REPRESENTATION 24

1Essential Work Resources


Careers in Screen, Film and Television



CareerMoney is a means of getting what you want, but you can’t buy real friends. Money can also make you lazy by no longer having to aspire to realise your ambitions. Sean Connery and Dame Judi Dench in their biographies state that acting as their profession is their job, why stuff it up with over inflated egos.

So, think about and write about keys to your ideal career – Do you want a wonderful career? Do you believe you can have one? Do you strive for it? The answers should be yes and yes. It doesn’t matter if you believe you can have one or not, as long as you take the steps to get there.

If you really want a rewarding career and are willing to try, don’t guess if you will succeed or not. List the activities you enjoy or would enjoy in your ideal career, list ones you never want to be involved in, and list ones you are prepared to be involved in. Based on this, 70% of your career should be things you love, and 30% things you could do, but 0% things you hate. Do not label an ideal career, just activities.

Another important idea is the level of control you want to have in your career. This will point to whether or not you should own your own business, be a key player in one, or be employed by someone else.

You may also wish to add the ideal number of hours you want to spend in your ideal career in each week – whilst you won’t feel like you’re going to ‘work’ when you’re in your ideal career, it is important to ensure you spend proper time in the other important areas of your life… family, friends, self, health and fitness.

Now that you have definitively outlined your ideal career:1. Visualise it. Imagine your involvement with your favourite career activities,

what it would be like and how much you would enjoy it all. Emotional drive is a crucial factor in ultimately achieving a goal, so the more you allow yourself to visualize your ideal career the more likely your behaviours will automatically follow to create it. Visualisation is a strong driver of sub conscious behavioural programming.

2. Concentrate on it … keep it front of mind … keep it in your conscious brain. Whatever thoughts are in your conscious brain automatically pass through to your subconscious and then play a part of your behavioural programming. Concentrate on the thoughts that represent what you want in your career to help make this become your reality.

3. Do not ask yourself if any of this is possible. Your answer may be ‘no’ so you may never try. It doesn’t matter if you think it’s possible or not; it only matters that you try.

4. Do not put a time frame on attaining your ideal career. Firstly, you probably wouldn’t know anyway and secondly, that could make it seem too far out. Just chase it and see what happens.

5. Just want it, a lot. Acknowledge the fact that, if you work full time, your career is the bulk of your life’s time … so want your ideal career with a



passion … irrespective of how long it may take, how many perceived barriers there are to pass through and whether you think you can have it or not. Don’t accept that you have to go to ‘work’ … make your aim to engage in activities that are purposeful, meaningful, enjoyable and rewarding to you and others.

6. List the skills, knowledge and people you will need in your network, to achieve your ideal career. Set about the required ongoing actions to attain all of that and don’t relent.

7. Determine what you should give to others or do for others, to achieve your ideal career. Life has a wonderful habit of rewarding givers more than takers.

Importantly, once employed in your ideal career, understand that things will change, so this must be an ongoing approach.

In the end, it is up to you – If you think this article is nonsense, then it will be just that for you. Whatever you think is impossible ... is impossible. Whatever you think you are … you are. You will remain in a job, just a job, and go to work each day … because you will never try. A baby elephant that has a chain attached to a stake in the ground placed around one of its legs learns that it can only move within the circle allowed by the perimeter of the chain. Years later, if a chain is placed back onto its leg but not staked into the ground, the elephant will only move within the same circle. Physically it can move out of the circle, mentally it doesn’t even try. That’s what happens to so many people who just go to work … physically they can change it, mentally they don’t even try. Their reality has become what they think, not what they can do. Chase yourideal career!



Working on Set KitThings you may need on set: Kit: To keep all of this in, preferably waterproof bag Sunscreen: To be put on under make-up but in consultation with the make- up

artist, as it may impeded the make-up and be too greasy Comb and brush: Anything to do with hair and make-up must be used in

conjunction with the make-up crew, but you still need your own things for hygiene Toothbrush and toothpaste: For after lunch just in case Face washer: Just in case Clothes for the weather: Over your costume have a button or zip jacket,

gloves, warms shoes (etc.) Tissues or handkerchief: You may need these Hat and umbrella: You may get burnt on outside shoots Pawpaw ointment: For keeping lips supple and protected from UV Hair ties, bobby pins and safety pins: Just in case of hair or costume last

minute fixes Phone and charger Book Money for transport Black shoes



AgentsHow to Get an AgentAgent’s ListA list of reputable agents can be found at the MEAA Actors Equity union website www.alliance.org.au although this is not always up to date. You will find it under resources. Looking at the list and the type of actors that the specific agents look after, you will see that there are not many specialist child/teen drama agents. If an agent specialises in actors and has management in it’s title then you can be pretty sure that they will only specialise in well-known actors or actors graduating from VCA, WAAPA, NIDA. Some agents will require you to audition or workshop. This is an indication that the agent is only looking for actors and not extras. An extras agent will probably not require an audition. It is a good way to get to know the business by being on set or out on location. Beware of agents that advertise saying that they will make you a star or will guarantee work, they will take your annual fee and well … you do the figures.

TalentNo matter what agency you look at joining you must be realistic about your standard of work. Talent is that indefinable something, some actors have that special quality, that magic, that stage presence, call it what you will, it's the stuff for stars. There are very few people with this. Other actors learn their art, learn how to be good and it does work. Imagine other jobs, someone starting out has to learn what to do, they show talent and promise for… well, it's the same with acting. But throughout all of this it is wise to have a good perception of your child/self. You have to be truthful. I can tell nearly always where a kid is at with their acting, but sometimes I get surprised, a child with great talent can even loose it. It’s great when the jigsaw pieces fall into place. Great, but no guarantee there will be work. If your child has an interest but is not an emerging talent, then maybe think about extra work. Not everyone can or should be a star.

How to JoinWhen applying to an agent, you can phone them and ask their requirements for application to join or write/email them. This letter should be short and to the point but always include a CV and photo. You should make the effort to follow up. Agents are very busy people.

Agents Agents can fall into several categories, modelling, drama, stunt etc. An agent has a stable of actors on their books and arranges auditions and screen tests for their actors (clients). If an agent has many actors of the same height, size and colouring it will be much harder for you to compete for a job. Therefore, always ask the agent what they are looking for. An agent is like choosing a hairdresser or an accountant. You need to be able to establish a working relationship between each other.An agent cannot get an actor a job! An agent gives the actor the opportunity to go to auditions and/or screen tests. It is possible for a modelling/extra agent to arrange a photo shoot or an extra job for their client. But for acting parts then auditions and screen tests are the only process. Therefore, when the actor succeeds in getting a


http://www.alliance.org.au/


job the agent will then look after the actor by negotiating a fair and equitable wage and good working conditions.

VCAAThe VCAA is the Victorian Children’s Agents Association. This association was founded to protect the rights of children and make sure that the agents under its auspices work in an ethical manner. Their web address is www.vcaa.com.au. Bill and I are founding members of the VCAA the Victorian Children’s Agents Association.

ADAAThe Australian Drama Agents Associations is an industry body that exists to regulate and promote proper practice amongst drama agents, and which aims to promote a minimum professional standard of operation for theatrical agencies and to ensure that it’s members comply with certain ethical guidelines.

Child WelfareThere are protections concerning child actors. A child actor is classified as one under 15. Child welfare laws protect a child up to 14. An actor is paid an adult wage from the age of 16. A child actor should receive 75% of an adult wage, especially if the agent concerned is a member of the VCAA. In order to work a child actor must be allowed time of school, parent permission and school principal permission. Your agent will handle these forms.

Casting ConsultantsA Casting Consultant or Casting Director is employed by a production company or advertising agency to find the right actor for a part. The casting consultant will contact all agents, (schools or drama schools) in order to do this. Agents will receive the acting brief and from their books select the most suitable. Agents need to adhere to the exact details of the brief. Although sometimes the brief can change!

ActingWithout going into the intricacies of screen acting, simply put these thoughts in your head. Show your own personality. Relax and do the best job you can. Be natural. Who wants to employ a nervous wreck? Enjoy. Remember this is acting for camera, it never lies; learn to enjoy the technique of acting in front of a camera. It’s like looking into your kitchen or lounge room, we want to see the natural you, not the overstated you. Acting for film and television (screen acting) requires a more understated technique than stage acting; however intimate / studio- styled theatre acting helps the technique.

Curriculum VitaeA CV is curriculum vitae, a resume, a brief history about you. It must tell the truth simply. Templates can be found on the internet. Always put the current year first and separate training from experience. It is good to mention special skills for example: horse riding, language or perhaps circus skills, but if you do put these down make sure you are very, very proficient at them. Size details are not necessary on your acting CV but are on a modelling one. But you should always know your clothing size. Hair and eye colouring are important to mention. If you are


http://www.vcaa.com.au/


with an agent, then you will use their letterhead. If you are freelancing or just starting out, then put your name at the top in large lettering. After all it is your name by which casting people will remember you. Remember to keep updating your CV and send as a PDF document with a JPEG photo of you on it.

PhotoWhen sending in a photo you need to submit a good face shot. Don’t send your ‘Deb’ photo, or photos with too much skin. Casting people need the real you not the glossy / glamour you. Once you get to a casting session, they will take a photo of you anyway. And digital photos cannot be doctored! So, use good light, sunlight is good. Make sure you can be seen clearly, no distance or profile photos. You do not need to go to the expense on having 8 x 10 shots done. Once you get an agent, they will tell you exactly how they are going to market you and how much it will cost. Generally, agents are not allowed by law to charge a joining fee, however there will be publicity fees somewhere between $200 to $450 is the fee that is charged. You should always find out what the agent is going to do for this money. This is an annual fee. Fees will be charged for actors and extras going on Internet casting databases.

Email and Electronic ContactWe are now in a technological society and as a result emails have replaced a lot of conversations between actors and agents. Remember to have a good and suitable email address. A bad example would be [email protected] or [email protected] the list could go on.

A good idea would simply be your name. If you need to create a work address separate from your personal address, then do it. Remember to check your emails regularly as an agent may send you something important that you do not want to miss. It’s important to also save your CV document with your name as the file name, agents receive hundreds of CV’s each year and if you just save the file as CV…you will be forgotten.Talent Agencies Don’t AdvertiseAgents DO NOT Advertise to RecruitTALENT AGENTS DO NOT RECRUIT!!! Cannot stress this enough. Proper casting agents very rarely (if ever) advertise with slogans like "Extras required for film and TV earn up to $1500PW" or "FILM TV Productions Require Actors, Extras, Models". The agencies that advertise this way are hoping you will be willing to part with some of your money on a dream. $300 from 20 people is $6000, and that's just for starters.

With so many hopefuls, wannabes and keenly passionate individuals, legitimate agents do not need to recruit. More often than not, they are turning people away as there "books are full." These rather tempting slogans are simply that, misleading temptations, no better than spam. Treat any such posting in an electronic medium with extreme prejudice.

Top Things to Look For and be Careful About1. Bad grammar and spelling, generic email addresses, websites developed through Wix or Weebly, or free to use sites.2. Grandiose promises with no proof. It is easy to promise or guarantee big


mailto:[email protected]



earnings, great gigs and stardom, but where is the proof?3. Advertising on general job sites like Seek.4. Talent agencies do NOT street cast either. If an “agent” approaches you, they could be a con artist or worse.5. Talent agencies do NOT cold call. They don’t email out of the blue and say things like “you’re just what we’re looking for!”6. If agents get pushy for an answer. You need to spend time researching them, and if they get demanding, treat this is as a bad sign.7. Try and find their ABN or ACN.8. Don’t believe the hype or promise to be put on big shows.9. Promises for access to casting calls that no one else has. All legitimate agents have equal access to all casting calls.

SummaryHaving an understanding of the nature of the business is a key aspect to not getting conned by it. Watch for the tricks and scams that are frequently tried on to so many unsuspecting individuals throughout the world. Acting is a profession that attracts the imagination of thousands of dreamers, and hundreds of schemers.Finding A Casting Agent or Not?Anyone thinking of finding professional work in the performance industry has basically two primary choices; find an agent or be your own agent. Both have their pros and their cons and can leave you high and dry if you don't employ some judicious care.

If you go it alone, then good luck to you. You will need to establish all of your own contacts, develop your industry reputation from nothing and hard sell yourself on a daily basis. That's not to say it is impossible. It has been done and there are many out there who say that it is the better option.Finding an agent who will represent you means not having to make as much effort in finding the desired pathways and contacts into your chosen profession. Please note that I said, "as much effort" as opposed to "don't worry guys, they do everything for you." You will still need to learn the art of self-marketing and not quitting. You will also have to be very judicious in who is going to represent you. You can't just walk into the first agent you find, sign up, then sit back and wait for the jobs to come rolling in. That is just not the way it works.

Knowing Yourself1. What area are you looking to get into?

Film, TV, Theatre, Musicals, Opera, Comedy?2. What types of roles do you want?

Extra and bit part work, or co lead and lead?3. What geographical area are you looking to cover?

Your local area or going global?4. What experience do you already have, and are you prepared to seek out

more?This should always be yes.



These are the things to think about before you even walk in the door of a possible agent. Once you understand better what you want, you are much better prepared to call an agent.

Knowing the AgentThere are lots of different agents. They cover all aspects of the industry and come with different extras or pit falls, so be wary and research. Your first check should be the MEAA, the Media Entertainment and Arts Alliance (https://www.meaa.org/) as they are your union representatives. They fight for your rights and pay rates. For serious actors who work a lot, it is essential to be part of the union. On their website, you will find a list of agents registered. This doesn’t mean they endorse them; it just lowers the chances of signing with a dodgy agent.

MEAA AdviceWith the MEAA’s list of potential representatives, start making calls, sending emails and inquiring about the process to join the agency, and what services they can provide. Some useful questions might be:1. How many people do you already have on the books? This will give an

indication of where you may fall in the selection. A large number may mean high popularity but could mean you get lost in the numbers.

2. How long have you been running the business? When was the last change in management? Long term performance is a good sign of market strength. However, this is not to say newer agencies are bad.

3. What shows or productions have you cast for? Are they productions you know or might be interested in? Does this validate their work?

4. Do you have a recommended photographer? Find out who this is and then research them as well.

5. Do you offer training services? If so, are they accredited? What is the cost?6. These are just sample questions, but you should prepare a list for yourself as

well. Think of it as you are hiring them. Don’t forget to also do your own research on the agent and see who they are attached to. Not everything positive or negative you find will be true, so in the end it is up to your judgment.

The Agent's FeeThis is a hot issue and I wanted to deal with it independent of other things. In the UK, it is illegal for a casting agent to charge an application fee to prospective clients. Technically that is also true for Australia. Anyone who charges for simply signing onto the books should be very seriously questioned. Sometimes they may try to hide the fee in things like compulsory photo shoots, workshops and so on. This is not say to that you should steer completely clear of these places, but just be aware that there are other agents out there who would work just as hard without the initial fee.

Note from an agent: The industry has changed so much that it’s quite ‘normal’ now to have a photography fee just as long as it’s reasonable. I would be more concerned about excessive fees and for the person to understand what the fees actually cover. Anything $295 or under is fair.

Commission


https://www.meaa.org/


From the MEAA: under the Entertainment Industry Act 1989, an agent can only charge the following percentages of a performers salary as commission:1. For an engagement involving film, television or electronic media - 10%.2. For live theatre, live musical or variety performances - 10% for any period up to

five weeks and then 5% for any period after.3. In all other cases – 10%.Always check the MEAA for up to date information.If you are asked to pay for such things as photo shoots or workshops, etc., then ask if they are optional. For example, if you already have a portfolio of photos, would that suffice and negate the fee? Is workshop attendance optional to joining the agency? If these things were requirements, then I would seriously question the motivation of the agent in question. Are they seriously interesting in finding the next big thing, or are they more concerned about getting what they can out of you in the short term?In this industry, you can't really afford to take such risks with an agent. Remember this very important fact: You are 'hiring' them to look for work for you. Just like an employment agency. The main difference between an employment agency and a casting agency is that you will be constantly looking for performance work as opposed to that one dream job. A casting agent takes a percentage from any money that you may earn and that’s how you pay for their services and not through up-front payments. The more jobs you get and the bigger the job, the more they get paid also. It is then in their best interest to help you find work.

Making the Final ChoiceAfter all that exhaustive work, you should now feel you know enough to make your final choice. If it feels right to you, then do it. Go in, sign up, and shake hands. They are now providing a service to you to find you work in your chosen field. Read any contract material very carefully for any previously missed details like commission amounts, their promise to you etc.

I would also strongly recommend that at this point (if you haven't already done so) you think about joining the Union. If for any reason the agent turns out to be a dud, the union can be there to give you some support. Without that membership, you will be on your own.It's now that the hard work begins. Remember I said you have hired the Agent? Think about it. You are the manager of your career, not them. Stay involved with the industry, read the blogs, get the news, make contacts in those fields you are interested in and when you hear of new ventures, talk with your agent about getting into the mix. Get them to find out what they can and if they can submit your application.

Invite your agent reps to see your work. Even though you have asked them to find you work, what can they possibly tell future producers and directors about you? They need to see you in action. They love complimentary tickets. Be all too aware that you are not the only one they are working for. You will have to compete with all the other hopefuls on their books for a portion of their time.

If they run workshops or training services, go to them. Get them to notice you and think that you may be the next big thing for them. You need to keep reminding them that you exist and that you are keen, eager and willing to try anything. Only once



you have established yourself and producers are seeking you out will you ever be able to even think of resting. Sadly, by that point, you'll be working so much that you won't have the time.Agent, Best Friend or Bête Noir? Around Australia, the various drama, dance and music and other performance schools will set hundreds of eager-eyed graduates loose in the Performing Arts Industry marketplace – all itching to take up what they regard as their true place in this most competitive of industries. Some will fail early, some will eke out a living for a while, and the rare one or two will become dedicated professional performers – even stars. What role did their agent play?

THERE ARE some professional performers who work independently and successfully without employing the services of an agent – but to most, their agent is the sine qua non (a thing that is absolutely necessary) of the Performing Arts Industry, supposedly, thoroughly informed and professional, in the mainstream swim, and thriving off their actors’ success, agents are legendary figures. Some performers regard them merely as a necessary evil – a telephone-answering service while the performer hunts up the job. Others lean on them heavily as counsellor, saviour, image-builder, job-finder, and guardian angel.

Most are happy to pay their 10%…until the job has been going for a while, then they start to begrudge it. Ideally, the agent is more than a mere business person, handling the fine print of the contracts and boosting the producer for as much as he or she can milk your services…to your advantage of course. They are the buffer between performer and employer; it is their job to know what’s going down, to be in contact with the producer, and that you are most likely to win… earning the bread of life for both of you. Thus, a good agent will have a strong will, have a strong personal relationship with their clients, knowing the performer’s weaknesses and strengths, personal and professional, and the employers’ preferences and idiosyncrasies.

For an agent is, above all, a salesman – selling YOU, the performer. And if the agent decides the goods are shoddy, they may or may not be wrong – but it’s time to take a look at your own act and at other agents, because the bottom line is you won’t work unless you find it yourself. With their supposedly wider experience and picture of the industry scene, knowledge of the market, your agent should be able to point you at where the work is…but there’s only one person, finally, who can land the job for you…YOU. An agent can point you at possible work, advise you on strategy and approach, get your name in to the casting director, handle the deal once you have the job, and look after your welfare on stage or set.

But only you, your talent, your confidence, your rightness for the role, will sell you to the employer. A good agent will help you with all this – but they can’t do it for you.One of the first tests of your agent is the suitability –and number of casting calls they ask you to go on…but of course it’s obvious, if you’re not going to any, then something is wrong. The name of the game is being seen.

Check your self-imageIf you feel that you were right for the calls, then you need to lift your act – or rearrange your self-image. Your agent will help you…or sack you. But if you felt



every time that the role fitted uneasily, then you need to check out whether your agent really knows who you are, as a person and as a performer.Are you just so much meat on their books – or is it just that they haven’t had time or opportunity to get an accurate idea of who you are?

It’s to your advantage – and your responsibility, to a large extent – to see that they do. And if they don’t want to know – change agents, whatever the cost. Many producers now tend to hand the whole hassle of casting over to a casting director, or a casting agent, saving themselves time and worry and allowing them to get on with what they want to do; producing the show.

But there are still those who know the result is first-screen performers going for casting calls. The theme may work with many variations: you may find and gain the job and turn it over to your agent for contract negotiation; you may both find and negotiate the job, simply telling your agent about it; you may find the job and ask your agent to get you in for a call. But in any event, you would be smart to tell them about it and pay them commission, even if you got the job yourself. They’re the one who’ll get you out of trouble when your negotiation goes sour or whatever. And if they aren’t making money out of you, why are you still on their books?

One of your agent’s jobs is to negotiate your contract, and the entire course of your employment hangs off that contract, from how much you are paid, to the hours you work, overtime, billing the colour of your dressing room. They handle your business affairs, represent your professional worth-both creative.

Barbara Leane of Barbara Leane & Associates believes that negotiation of contracts could be described as an art form, and that within the next decade we will see many more Australian agents retaining lawyers to handle contracts, as is currently the practice in the US. An agent’s job is also to anticipate the end of the actor’s run and spreading the word that they will be available.

Your agent’s payment is 10% of your earnings from engagements negotiated by them. By law, that is all they may charge, whereas theatre companies pay equity minimum for rehearsal, usually the agents take nothing from your rehearsal pay. Once the run begins, they are due 10% for the first five weeks, 5% for the remainder of the run, for theatrical engagements only. For TV engagements they are due 10% across the board.

In seeking an agent, compatibility should be high on your list of priorities. If you don’t foster an honest relationship they cannot, obviously, represent you in the best light from their understanding of who you are and what you can do. On the other hand, agents are looking for a combination of talent, experience, track record and professionalism in approach: to the job, to themselves, to the industry.Most agents try and get to the Graduation performances of the major drama schools, although with the increase in schools around Australia, it is becoming impossible for them to reach them all.

And the major agents are inundated with calls to “come and see my show – I know you’ll want to put me on your books”. Not many rise to the bait. But, obviously, students at the major schools, such as NIDA, are viewed more regularly – which is



not necessarily a comment on their ability or education, but a definite asset in finding an agent.

If an actor has no track record, and has not been “seen” at work, the approach to gaining an agent’s attention is through sending them a CV (Biog) photographs (Composites) and above all a demonstration videotape if available. But two to three show reels arrive on the desks of most major agents daily.

Leanne says that out of the hundreds of show reels, perhaps two or three of the actors have ended up on her books. Yet, though the selection rate is low, it is still the best way in the door for the new actor.

“If they have been working in the industry the video should have segments of work that they have done, and show a diversification of their talent,” Leanne said. “It should never be too long – eight minutes is enough – if an actor hasn’t caught my attention in the first three minutes, then forget it.

“It is difficult for young people who have not done anything, or mainly done theatre all over the place – but there are places open to them where they can go and put scenes down.

“But that’s the hard way: so, the minute an actor starts getting work they should have copies done of it and put together a compilation tape of what they do.

“It has to be sharp, and it has to grab you. An agent wants to sit there andthink ‘wow!

“How an actor makes that happen is up to them.”



Casting GuidelinesPreparation1. The parties acknowledge that adequate preparation time is essential to allow performers to prepare for an audition.

Where the performer is required to prepare a piece for the audition the Casting Consultant will use their best endeavours to provide a minimum 36 hours’ notice for an audition for a television commercial, and 72 hours for all other auditions.

Access to Script2. The entire script or screenplay together with the audience piece will be made available to the performer and/or their agent no less than 72 hours prior to the audition or in the case of commercials 36 hours. In an emergency, where it is not possible to provide the script or screenplay 72 hours in advance, the performer shall be given the opportunity at the place of the audition to read the script/screenplay prior to the commencement of the audition. The performer will not be asked to audition unless such opportunity is given.

3. The performer will not be asked to perform an unseen piece at the audition. However, the performer may agree to and/or improvise a supplementary scene or a scene involving a new character in addition to that for which s/he was originally auditioned, after adequate time and preparation.

Accents4. The parties recognise the importance of providing the performer with an adequate opportunity to research and prepare where an accent is required for an audition. The Casting Consultants will endeavour to provide the performer with sufficient notice but no less than 72 hours to prepare the accent. The Casting Consultant shall provide the performer with a detailed brief of the accent required.

Director5. The performer shall be given a reasonable opportunity to discuss the role for which s/he is auditioning with the director or where the director is not involved in the audition process the key creative principal responsible for casting.



StarNow and Casting NetworksStarNowStarNow is an online casting service. The goal behind StarNow is to connect talent with casting professionals and let talent apply for jobs through their site directly to casting agents. The site is used by professionals and beginners in singing, dancing, acting, modelling, extras, photography, crew, stylists and musicians and is becoming more and more relevant as a way to apply for real film and TV jobs.

StarNow has been around for over 10 years and is trusted in the industry. There is a free version where you can make a profile, upload experience, photos, videos, mp3 files, a CV, measurements and more, and you are free to scroll through the castings listed, but you cannot apply for anything without the paid version. In saying this, it is highly recommended and worth it to get the paid account as it is cheap, and you will earn your money back if you’re regularly checking your account for new messages or applications.

The site also has filters to search for paid jobs or unpaid, so whether you’re more professional and looking for films or television commercials (TVC’s) or just looking for some experience in student films, StarNow is a brilliant resource.

Casting NetworksTalent ServicesCreate your personal online CV to submit to projects and share with your industry contacts. Show the Casting Director what you can do before the audition. Add unlimited media clips up to 4 minutes each. Enable Talent Scout to let Agents know you're seeking representation. Submit your resume to film, television, and commercial roles online.

Pricing detailsView Premium Services and pricing details.Basic First photo FREE, unlimited updates to resume digital size card.Profile searchable by Casting Directors and Agents.Access to new Casting Billboard® projects daily.Access to sides, directories, photographers, acting coaches, and more...

DirectoriesFree searchable directories of Agencies, Casting Directors, and Managers.

Please respect the intellectual property given to you by not copying or giving to anyone else. Merilyn Brend.



Film and Television Book Archive for Loan

Title Author/PublicationFilm and TelevisionThe Goon Show Scripts Spike MillikenAustralian Screen Education Issue 23 WinterEntertainment Arts in Australia Paul HamlynAuditioning and Acting for the Camera

John W. Shepard

Acting in Film; An actors take on movie making

Michael Caine

Acting for the Camera Tony BarrA Screen Acting Workshop Mel ChurcherActing for the Camera Tony BarrActing in Film Michael CaineThe Directors Take Two Robert J. EmeryOn Our Selection the Screenplay George WhaleyActing for Film Mel ChurcherAuditioning and Acting for the Camera

Shepard

500 Ways to Beat the Hollywood Script Reader

Jennifer L

Absolutely Fabulous 2 Jennifer SaundersConstantin Stanislavski: Actors Handbook

Methuen

Looking For Alibrandi Melinda MarchettaMaster Class: The Actors Audition Manual

Dean Carey

99 Film Scenes For Actors Angela NicholasAudition Speeches for 6 to 16 Year Olds

Jean Marlow

The Complete Fawlty Towers John Cleese & Connie BoothScenes For Young Actors Tony WoollamsGreat Hollywood Movies Ted SennettGreat Movies James MasonThe Movies (x2) BloomsburyA Fish Called Wanda John Cleese & Charles CrichtonClose-up: Scripts From National Television’s Second Decade

Don Reid, Frank Bladwell

Science Fiction Films David ShipmanHollywood Gangsters Geoff AndrewSaddle Club Days: Behind the Scenes with the Girls from the Saddle Club

ABC TV



Screen Education The Australian Teachers of Media and Cinemedia Screen Education

Entertainment as in Australia Roger Covell, Sir Robert Helpmann, Harold Kippax, Mungo MacCallum, Machael Thornhill

A Night at the Picture: Ten Decades of British Film

David Puttnam and Sir Richard Attenborough

Hollywood Babylon Kenneth AngerThe World’s Greatest Movie Stars SalamanderMovie Classics Don ShiachThe MGM Story John Douglas EamesJames Cameron’s Titanic James Cameron and Ed W. MarshThree’s Company Patricia GordonHollywood 1960s Douglas JarvisBugsy Malone Alan ParkerAustralian Movies to the World David WhiteABC TV Rush Neil FullerMusicals and TheatreThe Best of Jerome Kern ChappellOliver! Vocal Selections Columbia PicturesJesus Christ Superstar Nick WalterA Tribute to Bing Crosby ChappellRodgers ad Hart Song Album ChappellRodgers and Hammerstein Song Album

Williamson Music LTD

Rodgers and Hart Revisited ChappellFrank Sinatra Music Album B. FeldmanGranddad’s Songs Allans MusicGreat Songs of the 20th Century Wise ProductionsThe Forties ChappellShirely Bassey Mark 1Great Songs of the Fifties Mark 1Comedy Classics FeldmanLes Miserables Tim KellyThe Hollywood Musical Clive HirschhornDesperate To Act Anna ScherSetting the Standard Encore Dictionary The Stage and The School Ommanney SchankerTheatre: A Crash Course Rob GrahamGuys and Dolls Jo Swerling and Abe BurrowsAustralia’s Entertainers Margrot VeitchThe Variety History of Show Business VarietyAustralian Stage Album Brian CarrollThe Dream on Total Street (x4) June Walker RogersA Peep Behind the Scenes Mrs. O. F. WaltonThe Dream on the Royal Street June Walker RogersHistory of Entertainment Jack HarveyThe Theatre: A Concise History Phyllis Hartnoll



Rehearsal Bill OwenBiography’s and PeopleImmortals of Literature – William Shakespeare and his Plays

Charles Haines

Bogie (biography) Joe HyamsLiza! Liza! Alan W. PetrucelliStreisand James SpadaThe Warner Bros. Story Clive HirschhornJudy Dench: With A Crack in Her Voice (biography)

John Miller

Marlene Dietrich (biography) Alexandra WalkerMarlene Dietrich Maria RivaOrson Welles (Biography) John Russell TaylorHenry Fonda Goldstein and Associated PressHellen Keller’s Teacher Margery DavidsonPlaysA Candle in the Dark T. Roy BennettPlays for the Classroom Ronald GowModern Plays Sir A. T. Quiller CouchFour Plays A. A. MilneA Mid Summer Night’s Dream William ShakespeareThree Plays A. A. MilneStars in the Morning Sky Michael GlennyHit and Run Kate HerbertThe Alchemist Ben JonsonFour Plays: To Have the Honour, Belinda, The Dover Road, Mr. Pim Passes By

A. A. Milne

The Plays of Anton Tchekov Antonin TchekovChildren of the Black Skirt Angela BetzienDeath of a Salesman Arthur MillerRomeo and Juliet Oxford School ShakespeareHansel and Gretel GlennaonThe Complete Works of William Shakespeare

Avenel

Three Australian Plays: Rusty Bangles, We Find the Bunyip, The Well

Summer Locke Elliot, Roy Matthew, Jack McKinney

Boy’s Own Macbeth Grahame Bono and Jim BurnettTake12/Action Plays Mel CelbulashOur Town Thornton WilderTheir Endeavours Fitzmaurice HillOne Act Plays: The Snap of the Rag, One of the Girls, Murder Malodorous, Bus Stop, School’s In, Off the Beam

Kevin Nemeth, Malcolm Frawley, Tom Vaughan, Pauline Harris, Rod Evans, Bill Jennings

Plays for Young People Anchorage PressPlays for Television and Radio (x2) LongmansThe Nun’s Priest’s Tale Stephen CooteIt Happened in Harrods John Chapman



Plays Retold: The Barrets of Wimpole Street

Rudolf Beiser

Mavis Goes to Timor Katherine Thomson, Angela Chaplin, Kavisha Mazella

The History of Time Jones Dennis M. MaganzaThe Rivals R. B. SheridanHenceforward Alan AyckbournMurder in the Cathedral T. S. EliotThe Prime of Miss Jean Brodie Jay Presson AllenThe Life of Galileo Bertolt BrechtPenguin Plays – Oscar Wilde Oscar WildeThe Glass Menagerie Tennessee WilliamsSophocles the Theban Plays: King Oedipus at Colonur Antigone

E. F. Waiting

Unsuitable for Adults Terry JohnsonA Question of Geography John Berger and Nella BielskiThe Secret Rapture David HareForm-Room Plays Junior First Series MultipleThree Plays: Bedroom Farce, Absurd Person Singular, Absent Friends

Alan Ayckbourn

Ten Selected Plays HarrapFour Major Plays: A Doll House, The Wild Duck, Hedda Gabler, The Master Builder

Henrik Ibsen

Love, Death and the Prom Jon JoryThe Shifting Heart Richard BeynonPygmalion (x2) (George) Bernard ShawThe Entertainer John OsborneUniversity Jon JoryNo Names… No Pack Drill Bob HerbertNo Room for Dreamers George HutchinsonSweet Bird of Youth, A Streetcar Named Desire, The Glass Menagerie

Tennessee Williams

Our Town, The Skin of Our Teeth, The Matchmaker

Thorton Wilder

King Henry the Fourth William ShakespeareTen Modern Plays NelsonKing of Ice Cream Mountain Jerold James Mundis and Robert

Edward LeonardThree European Plays: Ring Round the Moon, The Queen and Rebels, In Camera

Jean Anoulih, Ugo Betti, Jean-Pail Sartre

Coming Clean Kevin ElyotPlays: Zigger Zagger, Mooney and the Caravans

Peter Tarson

A Pair of Lunatics W. R. WalkesGoodbye Mrs. Blore Robert HewettMaiden Ladies Guy Paxton and Edward V. HoileOurselves Alone Anne Devlin



Blood of the Lamb Bruce MasonThe Great God Mogadon and Other Plays

Barry Oakley

The Way of the World William CongreveSelected Plays (x2) Brian FrielA Wind in Heaven and Other Plays Alan MackayJumpers Tom StoppardMoongirl Craig SodaroMask of Anubis (x6) G. ThomasThree Australian Plays Seymour Stewart PorterA Man For All Seasons (x3) Robert BoltPlays: The Burning Fiery Furnace, David and Goliath

Guy Williams

The Recruiting Office George FarguharDeath of a Salesman Arthur MillerPygmalion (George) Bernard ShawReturn Tickets William CorlettThe Real Long John Silver and Other Plays

Peter Barnes

Shakespearean Tragedy A. C. BradleyThe Odyssey of Homer Kenneth CavanderWyoming Alan Poole and Richard DellerQuiet Week-End Esther McCrackenGo Ask Alice Frank ShirasThe School for Scandal R. B. SheridanSelected Plays of Brian Friel Brian FrielEnter a Free Man Tom StoppardMadeline Cyril CampionBlack Chiffon (x3) Lesley StormThe Kitchen and other Plays Arnold WeskerEight One Act Plays NelsonThe Collection of plays of Noel Coward Volume 1

Noel Coward

Selections from Chaucer George H. CowlingRenaissance Reader James Bruce Ross and Mary Martin

McLaughlinThe Winslow Boy Terence RattiganForm-Room Plays Junior First Series MultipleA Doll’s House and Other Plays IbsenThree Plays Peter ShafferThree Australian Plays Alan Seymour, Douglas Stewart, Hal

PotterThe Plays of Sheridan OxfordPlays Introductions: Plays by New Writers

David Clough, Nick Darke, John Fletcher, Ellen Fox, Lennie James, Timberlake Wertenbaker

Four Plays of Our Time: Flight Into Danger, I Remember Mama, Teahouse of the August Moon, An

Herman Voaden



Enemy of the PeopleCrime Passionnel Eyre Methuen and Jean Paul SatreRomeo and Juliet William ShakespeareOdyssey Andreas Litras and John BoltonChekhov Plays Antonin ChekhovAway Michael GowBrilliant Lies David WilliamsonThe Crucible Arthur MillerA Man For All Seasons Robert BoltMacbeth William ShakespeareCan’t You Hear Me Talking To You? Alrene SykesKing Lear William ShakespeareOthello (x2) William ShakespeareAll the World’s a Stage William ShakespeareHamlet (x3) William ShakespeareRichard II William ShakespearePlays: The Banana Bender, The Death of Minnie

Barry Dickens

Away Michael GowIn Search of Owen Roe La MaMaLa MaMa Plays La MaMaJulius Caesar (x2) William ShakespeareMacbeth (x4) William ShakespeareTwelfth Night William ShakespeareThe Importance of Being Earnest Oscar WildeFour Plays for Coarse Actors Michael GreenLife of Galileo Bertolt BrechtEight One Act Plays NelsonA Mid Summer Night’s Dream William ShakespeareThe Play of the Silver Sword Stuart HensonThe Lliad of Homer Kenneth CavanderThree Plays for the Open Stage Brian WayMerchant of Venice William ShakespeareMaiden Ladies (x8) Guy Paxton and Edward V. HoileMelbourne Talem Rashma N. KalsieAladdin Revisited Adela NewtonCosī Louis NowraUnder Milk Wood Dylan ThomasGeorge and Maragret Gerald SavoryAdam’s Ark Harold HodgsonA Chorus of Disapproval Alan AyckbournGood Works Nick EnrightMountain Language Harold PinterCurtain Up! H. G. FowlerPlay Nine, 9 Short Plays John Bowen, Howard Brenton, David

Cregan, Frank Marcuc, Michelene Wandor

Ladies of the Tower Tim Kelly and Ruth Perry



Three Australian Plays: The One Day of the Year, Ned Kelly, The Tower

Alan Seymour, Douglas Stewart, Hal Porter

Don’t Run Around in the Nude! George FeydeauPlays: Lettuce and Lovage, Yonadab Peter ShafferJacobean and Caroline Comedies R. G. LawrenceFavourite Tales from Shakespeare Publicity ProductsFive Tales from Shakespeare Bernard MilesShort Story, Poetry and Creative WritingDiscovering Poetry 4, A LongmansThe Prophet Kahlil GibranThe Poetry Way Stage Two E. W. ParkerLove Poems John DonneGerad Manley Hopkins Poems A. E. DysonCatullus The Poems QuinnModern Australian Poetry David CampbellA Good Time Tonight Gary and Louise HodgeThe Book of a Thousand Poems London Evans Brothers LimitedJunior Poetry Workshop N. Russell and H. J. ChatfieldCreative Writing Sybil MarshallThe Frogs L. E. ClarkWordpower Edwward De BonoSpeak Well Book T. Musical Vowels Ellie P. ColcloughThe Railway Children Edith NesbitThe 1890s Stories Verse and Essays Leon CantrellSelected Poems Ted Hughes and Thom GunnSelected Poems Edith SewellMilton’s Dramatic Poems Geoffrey and Margret BulloughSuccessful Submission Writing Jean RobertsA. B. ‘Banjo’ Patterson Ballads, Poems, Stories and Journalism

Clement Semmler

Anonymous One Gwen McNaughtAustralian Bush Ballads AxiomDiscovering Poetry 3, A LongmansSpring is in the Air Paula J. SmithVoices, The Third Book Geoffrey SummerfieldActions and Reactions Maureen Stewart and Terry DoyleNovelsFrank Muir Goes To… Frank Muir and Simon BrettWhile I Live John MarsdenThe Call of the Gums Ian V. HansenNewsfront Robert MacklinOliver Twist Charles DickensNancy Wake Russell BransonBreaking Up Frank WillmottThe Phantom of the Opera Gastòn LerouxSophie’s Choice William StyronMommie Dearest Christena Crawford



Looking for Alibrandi Melina MarchettaThe Dead of The Night John MarsdenTomorrow, When the War Began John MarsdenGreat Expectations Charles DickensThe Accidental Apprentice Vikas SwarupSophie’s Choice William StyronRomance, Romance and the Bride Farrukh DhondyThe Lucky Country: Australia in the Sixties

Donald Horne

Stafly As A Galleon Joyce GrenfellFlynn Roger McDonaldNot Waving Catherine HayesThe Thoughts of Betty Spital Christopher MeadeTo Dance, To Dream Maxine DruryPeter the Whaler William H. G. KingstonA Christmas Carol and The Chimes Charles DickensThe Tom Swift Science Adventures: Tom Swift and His Cosmotron Express

Victor Appleton II

Yours Sincerely Monica Dickens and Beverly NicholsThe Inimitable Jeeves P. G. WodehouseThe My World Stories! Frank Mur and Denis NordenWelcome to the Bright World Stephen SewellMoon Babies/Dirty Laundry Patrick VanDerWerf, Kate HerbertPup and the Convict Charles DickensSvetlana in Slingbacks, Post Felicity Valentina Levkowicz, Ben EllisEmma Graham PittsI Know I Saw Gypsies Tom ErhardOn With the Play (Book Two) M. H. Grayson and H. E. HaineTreasure Trove John O’ LondonFire on the Snow Douglas StewartThe Good Comrade Una L. SilberradDilemmas David WalkerUnder 20 Gordon BowkerThe Playmakers One Roger MansfieldNuts, Bolts and Carnations Don RauschTop Girls Clay ChurchillFantastic Faces Phil JarrattCezanne Elizabeth Elias KaufmanThe Enchanted Woods Shirley BarberA Christmas Carol Charles DickensDrama and EducationShakespeare’s Women Angela PittActing: In Person And In Style Crawford, Hurst, LugeringDesperate To Act Anna ScherIssues Through Drama Maureen StewartBusiness Management VCE Units 1 and 2 Sixth Edition

Steve Barrile, Monica Bini, Margaret Taylor, Alan Wharton,



Jeremy Loftus-HillsLegend and Drama 2 Philip PayneActing Rhymes Clive SansomNEAP: Encountering Conflict Chris Mason, Kate Judith, Chris

Morgan, Tony ThompsonDrama Australia Journal NJThe Group Approach to Drama (1,2,3,4)

D. E. Adland

In Playing Shakespeare John BartonShakespeare Memorial Theatre Reinhardt and EvansStudio Workshop Book 1 C. E. J. SmithStudio Workshop Book 2 (x2) C. E. J. SmithStudio Workshop Book 3 C. E. J. SmithKing Lear Notes ShakespeareThe London Dramatic Books Rodney BenmehThree Worlds of Drama Jack LivesleyThe Playmakers Two Roger MansfieldShakespeare’s Monologue For Women

Dotterer

Stanislavski: Building a Character Methuen DramaA Passion for Acting: Exploring the Creative Process

Allan Miller

Mask Editions 2001, 2002, 2004, 2009

The Journal of Drama Victoria

Study Design Theatre Studies VCE VCAAStudy Design Drama VCE VCAADrama Course Development Support Material

VCE VCAA

Rebel Without A Cause The Dramatic Publishing CompanyGat Smart The Dramatic Publishing CompanyVoice and the Actor (x2) Cicely BerryDevelopment Through Drama Brian WayTwentieth Century Actor Training Alison HodgeA Guide to Developing Child Drama in the Primary School

The Victorian Department of Education

Dictionary Skillz Mel CebulashSpeech Rhymes Book 1 Clive SansomBeloved Friend GilsenanFrom Page to Performance ShiachParables for the Theatre Bertolt BrechtA Student’s Guide To Cabaret WizardPiano Jane CampionMasterclass – Women Dean CareyActing and Stagecraft Made Simple Derek BowskillAnother 100 Ideas for Drama Anna Shcer and Charles VerrallOn Stage! H. G. HowlerSixth Book (x3) Education Apartment of VictoriaBeloved Friend Nancy Pahl GilsenanThe Play Begins H. T. Moran



The Drama Highway Book 6 DentFashion Museum Pamphlet Fashion MuseumDirecting a Play McCafferyRussian Theatre Marc SlonimOne Hundred Games and Activities Winifred I. WarrenA Man For All Seasons NEAP.com.au1616 A Momentous Year Globe EducationThe Changing Face of Victoria State Library of VictoriaMirror World Books and Ideas State Library of VictoriaExit, Pursued by a Bear R. K. Sadler, T. A. S. Hayllar, C, J.

PowellShakespeare’s Monologues for Women

Dotterer

Close Up Don Reid and Frank BladwellNIDA Handbook NIDAPattern and Voice John Dorothy ColmerPrinciples of Performance ReaderDVDs and MoviesMean Girls DVDOne Hundred DVDBeat Not the Cones Charlotte JayHerman and Catnip VHSTo Kill a Mockingbird DVDChicken Run VHSJoan of Arc VHSTomorrow When the War Began DVDNotes from the Underground Beer, Bands and BarfightsCostume, Make-up and Face PaintCostume and Make-up HoltCostume and Make-up PhaidonPainting Faces Suzanne HaldaneCinema Secrets: Special Effects Dan MillarOther and Misc.The Final Yearbook 1985 Al ClarkThe National Health or Nurse Norton’s Affair

Peter Nichols

Mason’s Circus Arthur RusselSalt Peter MurrayEvergreen: Summer, Autumn, Winter, Spring

Quarterly

Murder by Experiment L. A. KnightThose Good Old Days Addison AuglerWitches, Goblins and Other World Sumlamith WülfingIllustrated Atlas of the World in the Middles Ages

Longman

Australian Birds and Animals JohnstonThe Australian Ballet 25 Years The Australian Women’s WeeklyAustralia From the Beginning Eve Pownall



How the Future Began Everyday Life Clive GiffordUnveiling Islam Ergun Caner and Emir CanerThe People’s Home Library The Oceanic Publishing CompanyProject Manual The Projector ClubPeople Then and Now – A Fair Deal in Britain?

Anna Sproule

The Penguin Book of Schoolyard Jokes

Phillip Adams and Patrice Newell

Beyond Blue Hills Meredith



Film and Television Occupations Accountant Actor Acting Coach ADR (Automated Dialogue

Replacement/Dialogue Editor) Advertising Aerial Camera Assistant (Drone) Aerial Camera Pilot Aerial Director of Photography Agent Animation Artists Apprentice Archive Trainee Armourer Art Department Art Director Assistant (to many roles) Audio Describer Audio Dubbing Best Boy Bookings Coordinator Boom Operator Camera Operator Carpenter Casting Consultant/Director Catering Crew Chaperone Chargehand (in charge of painting,

carpenter…)_ Choreographer Colourist Communication and Design Composer Concept Artist Console Operator Construction Manager Continuity Co-Producer Costume Design Costume Maker Costuming Crane Operator DCP Author Designers Development Executive Dialect Coach

Dialogue Coach Digital Imaging Technician (DIT) Director Director of Photography Distributor Drapesmaster Draughtsman Dressing Props Driver Editor Engineer EPK Director/Produce Executive Producer Events Manager Extras Film Sales Agent Financial Controller Foley Editor Gaffer Genny Operator Graphic Artists – including CGI (IT)

Grip Hairdresser Health and Safety advisor HoD Plasterer HoD Rigger Journalist Lighting & Sound Technicians Line Producer Location Manager Make-Up Artist – include

SFX/Prosthetics Marine Diving Camera Crew Marketing and Publicity Manager Model Model Maker Moving Light Operator Multi Media and Online Platform

Design Work Music Agent Music Editor Nurse On Set Painter Plasterer Post Production Runner Post Production Supervisor



Presenter Producer Production Buyer Production Coordinator Programmers Projectionist Properties

Designer/Organiser/Maker/Master Publicist Puppeteer Receptionist Reporter Re Recording Mixer Rigger Runner Safety Officer (OHS) Scenic Artist Script Editor Script Reader Script Writer/Screen Writer Sculptor Set Designer Singer Sound Designer Specialist Researcher Stagehand

Stage Manager Standby Steadicam Operator Stills Photographer Storyboard Artist Stunt Actor Stunt Coordinator Subtitler Supervision Tailoring Teacher – Drama/Media

Studies/Theatre Studies/English/Music Technical Crew Title Designer Trainee Transport Unit Driver Unit Manager Variety Artist Video Assist Monitor Video Tape Operators Voice Over Artist Voice Over Coach Wardrobe Supervisor Web Developer Writer



Film TV Courses 2018Diploma of Screen and Media at the Academy of Film, Theatre and Television (AFTT) (see also; advanced diploma)

Diploma of Screen and Media at Swinburne University (see also; advanced diploma)

Bachelor of Film and Television (Honours) at Swinburne University

Bachelor of Film, Television and Animation at Deakin University

Bachelor of Fine Arts (Film and Television) and Victorian College of the Arts (VCA)

Bachelor of Creative Arts (Film and Television) at JMC

Bachelor of Contemporary Performance Practice at Federation University (Fed Uni)

Bachelor of Arts Screen (Production) at Australian Film, Television and Radio School (AFTRS)

Bachelor of Fine Arts (BFA) in Filmmaking at the New York Film Academy NYFA

Bachelor of Film at SAE Institute

Advanced Diploma in Acting at the National Theatre Drama School

Bachelor of Fine Arts (Acting) at Queensland University of Technology (QUT)

Bachelor of Fine Arts (Acting) at the National Institute of Dramatic Arts (NIDA)

Diploma of Screen Performance at Western Australia Academy of Performing Arts (WAAPA)

30Film TV Study and Work Resources


Pathway Courses 2020Swinburne:

Certificate IV in Screen and Media CUA41215 Diploma of Screen and Media – Film and Television CUA51015 Diploma of Screen and Media – Animation CUA51015 Diploma of Screen and Media – Sports Media CUA51015 Advanced Diploma of Screen and Media – Film and Television CUA60615

Holmesglen: Certificate III in Screen and Media CUA31015 Certificate IV in Screen and Media (Animation and Digital Media) CUA41215 Diploma of Screen and Media (Animation) CUA51015 Diploma of Screen and Media (Radio and TV) CUA51015 Diploma of Screen and Media (Short Film) CUA51015

Melbourne Polytechnic: Certificate III in Screen and Media CUA31015 Certificate IV in Screen and Media CUA41215 Diploma of Screen and Media (Specialist Make-up Services) CUA51015 Advanced Diploma of Screen and Media CUA60615

RMIT: Certificate IV in Screen and Media CUA41215 Diploma of Digital Media Technologies ICT50915 Diploma of Screen and Media CUA51015 Advanced Diploma of Professional Screenwriting 10678NAT Advanced Diploma of Screen and Media CUA60615

Victorian Skills Gateway: Certificate III in Screen and Media CUA31015

SAE Creative Media Institute: Diploma of Screen and Media CUA51015

JMC Academy:Certificate III in Screen and Media CUA310



Acting CV and Cover EmailYour Acting CV is an IMPORTANT actor tool. You need to email it for every job application with a covering letter. You will also have one for any other type of employment. You will attend the compulsory excursion where a CV expert will talk and help you develop a good quality one. Submission of your CV and cover letter by email is in Act 15.It should show the VERY BEST of you on paper. Please keep updating your CV as you gain more experience, skills, or work in the field of Acting.

Why do you need one? Discuss. If you Google a CV template, then you will also see that the structure is similar. Look at the CV template below and add your own information.

Remember to keep a copy of your CV as a word doc you can update as you gain more experience/ skills, change your hairstyle, need glasses or grow.If you have an agent, particularly an online one like ‘STARNOW’ or 'Real People’, be sure to add their link on your CV, but make sure the information online matches what you present on paper.

It pays to still have a separate CV separate document in case you get the opportunity to go for a role and you need to actually present something yourself, online agents don’t always work efficiently for everyone, you need to take charge yourself.

Your headshot, whilst not likely to be a professional one unless you have an agent can be taken by a friend or family member, just remember to use a plain/blank background and shoot from just below shoulders up. Don’t wear your school uniform as it can pigeonhole you for roles and it does NOT look professional; just wear something plain like a T-shirt or shirt. Google professional headshots if you get stuck.

Making the headshot a black and white image can make it look more professional. In the second year of this course there will be an excursion that includes getting your headshots done professionally.

Please remember this CV is for audition purposes and should be kept separate from the CV you use to apply for a part time job in for example; hospitality, retail or a fast food outlet.

Examples of Year 2 student headshots from 2019



Example CVWilliam Hutchins FREELANCE ACTOR PHOTOM: (61) E: HEREGender: Male Age Range: 14 - 17 Height: 171cm Weight: 49kg Hair Colour: Brown Eye Colour(s): (R)Green (L)BrownShirt Size: Small Shoe Size: 7(US)I am a young teenager with a passionate heart for acting and an even bigger dream. Since discovering my love for the craft during my first project in the 2010 school cast ‘Aladdin JR', I have continued to push myself further to greater enhance my skills while fueling my endless excitement for the art of performance. Besides acting I enjoy playing competitive sports such as Volleyball and basketball, as well as solo hobbies such as fine arts and Free running. Training:

YEAR SCHOOL SUBJECT TEACHER

2019 Australian College of Dramatic Arts

22307VIC Certificate III in Acting (Screen) Year 1

Merilyn Brend

2015-2019 Caulfield Grammar School

Theatre Studies Dayna Tinline/Peter Tserbis

2016-2018 National Institute of Dramatic Arts

Acting on Screen Jason Kos, Shane Goss,Lucas Testro

Experience: TheatreYEAR VENUE SHOW ROLE

2019 Crips Centre Caulfield Grammar School

The Addams Family Gomez Addams

2018 St Kilda Town Hall Spooktober Halloween Festival

Phobia Haunt Actor

2018 Crips Centre Caulfield Grammar School

Lord of the Flies Sam

Experience: Television2019 Neighbours Extra

2019 Halifax Extra



CV TemplateYour Name hereFREELANCE ACTOR OR AGENTS NAME

M: XXXX XXX XXXE: youremailhere@makeitasensibleone

Age Range 15 - 19Height: xxWeight: xxEye Colour: xxHair Colour: xxHair Length: xxClothing Size: xxShoe Size: xx

Training:YEAR SCHOOL SUBJECT TEACHER

Australian College of Dramatic Arts

22307VIC Certificate III in Acting (Screen) Year 1

Australian College of Dramatic Arts

Action Acting Workshop

Experience:Theatre

Television(Take this out if you have no experience)

Skills:SKILL TIME/ Trained LEVEL

e.g Instrument: Keyboard 2012-2017 Beginner/Intermediate


Your Headshot here


Writing for Great CVLook at the order of things you can use on your CV.

1. Your professional name and photo

2. Agency name (if you have one) FREELANCE ACTOR if you don’t

3. Contact details, personal information and basic measurements

4. Credits, work experience

5. Training

6. Any specific skills

Always keep numbers 1-3 at the top in this order, and you can switch 4-6 around (but the way it’s listed above is usually the best).

You will be asked to hand in a hard copy at the VET Industry Day so that it can be proof read, edited and discussed.

After the excursion, your CV once corrected must be checked with your teacher and then emailed to [email protected] as though sending it to an agent. Please send with a polite accompanying email.

WHAT IS AN ACCOMPANYING EMAIL?It is the message in the body of the email you are sending with your CV.HINTS:

Always write “Dear…” (try to find the name of the person you are emailing – in this case it will be Nikki)

Explain why you are emailing your CV – you can make the reason up, points for a fab fictional reason.

Add your attachment (CV) properly named (for example, “Bill Robinson – Acting CV”.

Tell them that you will contact them in about 2 week’s time to follow up

Thank them for their time

Sign off with Regards and your full name35Film TV Study and Work Resources



If you do not include an accompanying message in your email with your CV, you will be asked to resubmit.

If you do not save your CV with your name e.g. ‘Nikki Wellington CV’ you will be asked to resubmit.

If you do not include a headshot you will be asked to resubmit.

If you use a current CV, you have for part time work which includes things not relevant to acting you will be asked to resubmit.

If it becomes apparent you haven’t had someone read your CV or you haven’t done a spell check you will be asked to resubmit.



Checklist for a Great CVThe easiest way to get this right is to follow the checklist and do as it says to AVOID a request to resubmit.

IMPORTANT: Make sure you READ THE CHECKLIST and ‘Tick the boxes’ No.

CHECKLIST for making the perfectaudition/ professional acting CV

Tick the box

1 Add your name at the top of the CV – font size 28 and BOLD2 Add your agent details if you have one3 If you don’t have an agent, put ‘FREELANCE ACTOR’ under your

name4 Put your mobile number and email contact only – no snail mail

address5 Add your personal description (see template example)6 Include a headshot of yourself (no bathroom selfies or mug shots)7 Add relevant training (see template example – most recent first)8 Add relevant credits, work experience etc. (see template)9 Add your skills (relevant to the industry or the role you are going for)10 Spell check and have someone read it thoroughly11 Name your CV doc with your name and CV and save s PDF12 Make sure your CV is one page and font size for most content is 1213 Check your CV doesn’t have blank page(s) attached14 Email your CV to [email protected] with a written message of

who you are and what class and cluster you are from

Written by Nikki Wellington

For a good article and some more ingo, check out:https://www.backstage.com/uk/magazine/article/how-to-create-an-acting-cv-in-the-uk-69511/


https://www.backstage.com/uk/magazine/article/how-to-create-an-acting-cv-in-the-uk-69511/

https://www.backstage.com/uk/magazine/article/how-to-create-an-acting-cv-in-the-uk-69511/



Headshot TipsPractice three looks:

Serious Smiling Quirky

Grooming is very important. Neat hair, smart attire.

As for make-up, cleanse, exfoliate and moisturise first. Apply matte make-up, you do not want a shiny face. Blemishes should be covered and features highlighted. Remember natural make-up not stage make-up.

Clothing should be flattering. Choose colours that suit you. Bold colours are preferred. Avoid spots, lines, stripes, pattern. No logos or writing. When all else fails, choose black, this looks good on most.

Take direction from the photographer and relax! Enjoy yourself!



LGBTQI+ ShowsLGBTQ Shows:

Pose (America) The Bold Type (Canada) Killing Eve (Europe) Black Lightning (America) One Day at a Time (America) Schitt’s Creek (America) Chilling Adventures of Sabrina

(Canada) Dear White People (America) The Good Fight (America) Vida (Pico-Union) Bonding (America) Elite (Madrid) Glee (America) Jane the Virgin (America) Jessica Jones (America) Riverdale (Canada)

Sex Education (England) Special (America) Stranger Things (America) Tales of the City (America) Trinkets (America) The Fosters (America) Gentleman Jack (England) The L Word (Canada, America) Looking (America) Orange is the New Black

(America) Will and Grace (America) Please Like Me (Australia) Transparent (America) Queer as Folk (America) Banana (America)

Trans Shows: Orange is the New Black (America) The Chilling Adventures of Sabrina (Canada) The OA (America) Pose (America) The Good Doctor (Canada) Supergirl (Canada) Breakfast on Pluto (Ireland) Wentworth (Australia) The Fosters (America) Tangerine (America) Sense8 (Numerous) American Horror Story: Freak Show (America) Boy Meets Girl (America)



Transgender RepresentationOverview:In this lesson, students are introduced to the concepts of gender identity and gender expression and learn about common portrayals of trans people in movies and TV shows. Students then draw on this analysis to imagine trans characters and allies in different TV movie and genres. Finally, students consider the question of whether it’s more important or characters from marginalised communities to be represented in the media more often, or it’s more important that those portrayals be positive and accurate.

Procedure:Begin by reflecting on 5 TV shows or movies seen recently. Then think of the characters in that show or movie, and list how they fit in to:Race or ethnicityAbility or disabilityReligionSexual orientation

Which groups are well represented? Which groups are not?

What happens when groups are excluded? What happens when you don’t see an identity or group that you belong to being represented in the media?

Glossary:Sex: The classification of people as male or female. At birth infants are assigned a sex, usually based on the appearance of their external anatomy.

Sex Orientation: Describe an individual’s enduring physical, romantic and / or emotional attraction to another person. Gender identity and sexual orientation are not the same. Transgender people may be straight, lesbian, gay, or bisexual. For example, a person who transitions from male to female and is attracted solely to men would identify as a straight woman.

Gender Identity: One’s internal, deeply held sense of one’s gender. For transgender people, their own internal gender identity does not match the sex they were assigned at birth.

Transgender: An umbrella term for people whose gender identity and/or gender expression differs from what is typically associated with the sex they were assigned at birth. People under the transgender umbrella may describe themselves using one or more of a wide variety of terms - including transgender. Some of those terms are defined below.

Gender Expression: External manifestations of gender, expressed through one's name, pronouns, clothing, haircut, behaviour, voice, or body characteristics. Society identifies these cues as masculine and feminine, although what is considered masculine and feminine changes over time and varies by culture.



Transsexual: An older term that originated in the medical and psychological communities. Still preferred by some people who have permanently changed - or seek to change - their bodies through medical interventions (including but not limited to hor- mones and/or surgeries). Unlike transgender, transsexual is not an umbrella term. Many transgender people do not identify as transsexual and prefer the word transgender.

Trans: Used as shorthand to mean transgender or transsexual - or sometimes to be inclusive of a wide variety of identities under the transgender umbrella.

Transgender Man: People who were assigned female at birth but identify and live as a man may use this term to describe themselves. They may shorten it to trans man. (Note: trans man, not "transman.") Some may also use FTM, an abbreviation for female-to-male. Some may prefer to simply be called men, without any modifier. It is best to ask which term an individual prefers.

Transgender Woman: People who were assigned male at birth but identify and live as a woman may use this term to describe themselves. They may shorten to trans woman. (Note: trans woman, not "transwoman.") Some may also use MTF, an abbreviation for male-to-female. Some may prefer to simply be called women, without any modifier. It is best to ask which term an individual prefers.

Cisgender: A term used by some to describe people who are not transgender. "Cis-" is a Latin prefix meaning "on the same side as," and is therefore an antonym of "trans-." A more widely understood way to describe people who are not transgender is simply to say non-transgender people.

Gender Non-Conforming: A term used to describe some people whose gender expression is different from conventional expectations of masculin- ity and femininity. Please note that not all gender non-conforming people identify as transgender; nor are all transgender people gender non-conforming. Many people have gender expressions that are not entirely conventional -- that fact alone does not make them transgender. Many transgender men and women have gender expressions that are conventionally masculine or feminine. Simply being transgender does not make someone gender non-conforming. The term is not a synonym for transgender or transsexual and should only be used if someone self-identifies as gender non-conforming.

Genderqueer: A term used by some people who experience their gender identity and/or gender expression as falling outside the categories of man and woman. They may define their gender as falling somewhere in between man and woman, or they may define it as wholly different from these terms. The term is not a synonym for transgender or transsexual and should only be used if someone self-identifies as genderqueer.


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Careers in Screen, Film and Television · Web viewRemember to keep a copy of your CV as a word doc you can update as you gain more experience/ skills, change your hairstyle, need