Fall 2015 - SAG-AFTRA · 2015. 9. 3. · Take advantage of the many opportunities the Conservatory provides. Enjoy your experiences in the classes and hopefully, as part of one or

2021 N. WESTERN AVE., L.A., CA 90027 323.856.7736 [email protected]

SAG-AFTRA Los Angeles Conservatory

TH

E

The following information will help our new members get the most out of the SAG-AFTRA Conservatory experience. For those members who have previously been a part of the Conservatory, some of this information will be a repeat, but it never hurts to hear it again.

How to Sign Up for a Class: You will be able to call in for a class one week to the day of the class you are interested in attending. These classes are filled on a first-come, first-served basis and we only have space available for 8 to 10 members for many of our classes. Please don’t be disappointed because you couldn’t get in the class of your choice due to another member calling in first. We have a short waiting list and the office will notify you if there is room on that list. If someone cancels, you will be contacted, but please be aware that it could be at the last minute. We understand that it may be difficult to get into those 8 to 10 slots, especially at the beginning of the year. Everyone gets so excited that it seems like you are rushing the stage at a sold-out rock concert. Please do not get frustrated or even worse, give up. If you know

you are the kind of person who gets frustrated, go for the bigger workshops the first few weeks (i.e. voiceover, improv or a special event). After the rush of the first few weeks, everything calms down and it’s much easier to get in. The important thing to remember is that the Conservatory year consists of over 30 weeks of workshops and other great opportunities. There is more than enough

time to take real advantage of what it has to offer, so please be patient and kind to the office volunteers.

How Often Can I Repeat a Class: There is a three-month interim on repeats of a class. However, if there is room, you can put your name on the waiting list for the class sooner than the three-month “repeat rule.” We have a lot of great workshops, so take as many of them as you can, and know that we hope to transition to an online system in the future to make this process even more convenient.

Casting for AFI Fellows Projects: Hopefully, by now you have signed up for an iActor account and have added your current pictures and resume. It’s important that both your picture and resume are current, focusing on the principal jobs you’ve worked. Background jobs aren’t helpful for casting, so please leave those off. If you are selected to audition for an AFI project, you will be notified via email from the Conservatory office. Please read through the email before calling the office to confirm you are indeed available for the dates of the project. The AFI directors are limited to how many actors they can audition, so taking a slot for a role you are not actually available for simply takes an opportunity away from a fellow actor. When going in for an audition, please be professional and treat the opportunity just as you would a paying job. Show up on time and be prepared. The AFI fellows are serious about their projects and they expect the same from us.

The Conservatory is here to help you be prepared to get work. We hope that through the classes and other members, you might connect with teachers who will provide information that will help you attain that goal. I look forward to seeing you throughout the season, in the classes and at our events. Take advantage of the many opportunities the Conservatory provides. Enjoy your experiences in the classes and hopefully, as part of one or more AFI projects. Best wishes and “break a leg.”

Ron Morgan Conservatory

Chairman

How to Register for

Classes 3

Workshop

Schedule 4

Workshop

Descriptions and

Times

5

Conservatory

Rules and

Regulations

8

IN THIS ISSUE:

Fall 2015

WELCOME TO THE 2015/2016

CONSERVATORY SEASON

RECAP AND GRATITUDE: THE SUMMER INTENSIVE By Lee Garlington

“This was the best

Summer Intensive, ever!”

was a refrain, to my

delight, that I heard over

and over during the 2015

Conservatory weekend. It

was gratifying. We, on the

committee, work quite hard

to make sure this event

runs smoothly, offering you what we

intend as invaluable classes, panels and

workshops. We hope every year you tell us it

was “the best ever” as we continue on in our

unending quest for excellence.

There are five components that are absolutely

essential to our success:

1. Dawn Deibert. Her unflagging efforts on

behalf of this enormous undertaking are hard

for mere mortals to comprehend. She is the

heart of our command center—coordinating

volunteers, dealing with every crisis, answering a

million questions, and taking care of the needs

of the teachers, volunteers and participants with

grace and aplomb. This year she was ably

assisted by SAG-AFTRA staff Jackie Perez and

Krysten Jones. We owe all three of them an

enormous debt of gratitude for yet

another fabulous weekend.

2. The Volunteers. You gals and guys are the

best! From taking care of parking, lunch, the

monitoring and assisting of each class,

answering questions, checking off endless

names on endless lists, handling each and every

issue that comes up, and helping avert crisis

situations. We simply could not do it without

your efforts.

3. The Teachers. Everyone who teaches and/or

facilitates a class, panel or workshop receives

$1,000 and a three-hour gift certificate to Burke

Williams. OR, they all give of their time,

knowledge and talent for fun and for free—you

guess which one. Hint: they are volunteers as

well! None of this happens without their

generosity and brilliance.

4. The Committee. Year after year, a

subcommittee of the SAG-AFTRA Los Angeles

Conservatory Committee begins meeting in April

to put together this event. We review all the

evaluations from the previous year, invite back

the teachers that are popular, and try to

cultivate new teachers and workshops to become

a part of our extended Summer Intensive family.

This requires ceaseless emails, phone calls, and

follow-up emails and phone calls, and then some

more. There is an enormous amount of legwork

that goes into the weekend itself, and much of it

is not glamorous. I would like to acknowledge

our tireless troupe, alphabetically:

Bill Applebaum, Michael D. Cohen,

Lee Garlington, Ron Morgan, Tim Powell,

Bob Telford, Teddy Vincent and this year ably

chaired by Mari Weiss.

5. You. There would be no point to any of this if

it wasn’t for you. Not only do you attend the

workshops and panels, but I always sense an

excitement, passion and appreciation that makes

all the time, energy and effort we put in worth-

while. Thank you! We rely on your evaluations to

let us know what’s working and what isn’t, and

your input greatly informs the content of next

year’s Summer Intensive. We look forward to

and embrace your feedback. Our purpose, as a

committee, is to make sure we provide the best

we possibly can for our members. If there’s

anything you would like next year that you

didn’t put in your evaluations, please don’t

hesitate to let us know.

Now, we can all look forward to the

wonderful classes being offered this

coming semester!

2

SPECIAL EVENTS

REGISTRATION OPENS AT EXACTLY 10 a.m. ONE WEEK PRIOR

TO THE INDIVIDUAL WORKSHOP

(TWO WEEKS FOR SPECIAL EVENTS)

CALL 323.856.7736

Monday - Friday 10 a.m. - noon and 1 - 4 p.m.

Example: If the workshop you would like to attend is on Wednesday, please call the

prior Wednesday starting at 10 a.m.

You must have your SAG-AFTRA ID number ready when you call to

reserve your space. Reservations ARE NOT

accepted via voicemail or email. Only cancellations are accepted

via voicemail or email.

All workshops are held in the Mayer Library Building (LIB) at the top of the hill (the building where

the office is located) unless otherwise noted.

LIB: LIBRARY BUILDING WB: WARNER BUILDING

(Example LIB 100 is Library Building, room 100)

F/B: FRANKOVICH BARNES SCREENING ROOM

First floor Library Building

MGSR: MARK GOODSON SCREENING ROOM

Second floor Library Building

*SEE BACK PAGE FOR MAP OF THE AMERICAN FILM INSTITUTE

CAMPUS

HOW TO REGISTER

LOCATION OF CLASSES

Tuesday,

Sept. 22

6 - 10 p.m.

“An Actors Showcase” Twenty actors will perform scenes

and redirects LIVE on the AFI campus. Conservatory members

will have a platform to show talent abilities to up-and-coming

filmmakers. All AFI fellows are invited to observe. As space is limited to twenty (20) for this

workshop, acceptance will be on a first-call, first-registered basis. The first 150 Conservatory members to

call will be entered into a pool. Then, 20 actors will be randomly

selected through a lottery process.

Watch for email blast updates about these and other

upcoming events. Be sure to put

[email protected] on your safe list.

RESERVATIONS FOR ALL EVENTS ARE REQUIRED.

Special events are overbooked to compensate for no-shows.

Please call 323.856.7736 starting up to TWO Mondays prior

(special events only) to enroll.

3

SAG-AFTRA LOS ANGELES CONSERVATORY

COMMITTEE

Ron Morgan—Chair Bob Telford—Vice Chair

Bill Applebaum, Michael D. Cohen, Lee Garlington, Nicholas Leland,

Kevin McCorkle, Tim Powell, Teddy Vincent, Will Wallace, Angela Watson, Mari Weiss,

David Westberg Dawn Deibert—Staff Liaison

FALL CALENDAR OF WORKSHOPS *PLEASE SEE NEXT DESCRIPTIONS FOR TIMES*

SEPTEMBER 2015

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

21

Commercial Audition

Workshop LIB 100

22

Cold Reading LIB 101

SVW: Beginning LIB 100

Voiceover LIB 102

23


23

SVW: Intermediate LIB 100

24

25

28

Commercial Audition

Workshop LIB 100

29



30


OCT 1


OCT 2 OCT 3

OCTOBER 2015


5

Commercial Audition

Workshop LIB 100

6


Actors Evening F/B


7


Theatrical Video LIB 100

8


9 10

12

Commercial Audition

Workshop LIB 100

13



Voiceover LIB 102

14


15


16

Open Camera LIB 101

17

19

Commercial Audition

Workshop LIB 100

20



21


Improv WB 102


22


23

24

26

Commercial Audition

Workshop LIB 100

27



Voiceover LIB 102

28


29


30 31

HAPPY

HALLOWEEN!

NOVEMBER 2015


2

Commercial Audition

Workshop LIB 100

3


Actors Evening F/B


4



5


6 7

9

Commercial Audition

Workshop LIB 100

10



Voiceover LIB 102

11

NO WORKSHOPS

VETERANS DAY

12


13

14

16

Commercial Audition

Workshop LIB 100

17



18


Improv WB 102


19


20

Open Camera LIB 101

21

23

Commercial Audition

Workshop LIB 100

24


Voiceover LIB 102

25

NO WORKSHOPS

THANKSGIVING

HOLIDAY

26

NO WORKSHOPS

THANKSGIVING

HOLIDAY

27

NO WORKSHOPS

THANKSGIVING

HOLIDAY

28

DECEMBER 2015


NOV 30

Commercial Audition

Workshop LIB 100

1


Actors Evening F/B


2



3


4

5

7

Commercial Audition

Workshop LIB 100

8



Voiceover LIB 102

9


10


11 12

END OF FALL

WORKSHOPS

4

First Tuesday of each month 7 - 10 p.m. Frankovich Barnes Screening Room (F/B) Limit 88 students Industry professionals appear in a seminar format

to discuss their business and answer questions.

Tuesday and Wednesday mornings 10 a.m. - 1 p.m. Library Building Room 101 Limit 10 students Learn and develop effective auditioning techniques.

Monday nights 7 - 10 p.m. Library Building Room 100 Limit 10 students Learn how the commercial audition process works in an on-camera workshop that simulates a real audition. Your work will be videotaped, followed by viewing and comments.

Third Wednesday of each month 7 - 10 p.m. Warner Building Room 102 Limit 30 students Learn improvisation skills to help make you a more creative actor.

Third Friday of each month 6:30 - 9:30 p.m. Library Building Room 101 Limit 6 students. Students get a half hour with Director Nick Leland to work on camera. Bring a prepared monologue or scene (with another Conservatory member only), or even try different “looks.” Please bring a flash drive to record your work and take it home to study.

Tuesday and Thursday nights Beginning and Intermediate rotate days 6 - 10 p.m. Library Building Room 100 Limit 10 students

Please assess your level prior to calling to book your class. See page six.

Upon arrival, you will be given a scene, paired with a partner and given instruction. You will have 30 to 60 minutes to work on the scene. All students then shoot the scene on camera and watch their work followed by comments and direction.

First and Third Wednesdays 7 - 10 p.m. Library Building Room 100. Limit 8 students Simulated theatrical interview and cold reading on video followed by viewing and comments. Bring picture and resume.

Generally the second and fourth Tuesday of each month 7 - 10 p.m. Library Building Room 102 Limit 15 students Learn various voiceover techniques for commercials, animation and narration.

Cold Reading

WORKSHOP DESCRIPTIONS *PLEASE REFER TO CALENDAR FOR EXACT DATES*

Improv

Voiceover

Theatrical Video

Scene Video Workshop

Open Camera

Actors Evening

Commercial Audition

WE ARE OFFERING BEGINNING AND INTERMEDIATE CLASSES ON

SOME OF OUR WORKSHOPS TO BETTER MEET THE NEEDS OF

THE MEMBERSHIP. PLEASE READ THE SELF-SELECTION PROCESS

ON THE NEXT PAGE CAREFULLY. WE ASK THAT YOU PLEASE

FOLLOW THESE GUIDELINES, SO THAT YOU AND YOUR

FELLOW ACTORS WILL HAVE THE BEST EXPERIENCE POSSIBLE.

DON’T FORGET TO UPDATE YOUR iACTOR PROFILE IF YOU WISH TO BE

CONSIDERED FOR AFI PROJECTS.

RESERVATIONS BEGIN AT 10 a.m. EXACTLY,

ONE WEEK PRIOR TO THE WORKSHOP. ALL WORKSHOPS ARE STANDALONE CLASSES.

Example: If the workshop you’d like to attend is on Wednesday, please call the prior Wednesday

starting at 10 a.m. 5

The Scene Video Workshop classes are

customized to experience levels. Please select

the level that most appropriately describes your

experience. We suggest that you meet three of

the four criteria to join in the level. If you are

unsure which level you are in, please take the

beginning class to start.

This is not a consecutive program. Note: It is

requested that you stay in the level until your

experience changes to fit the next level. Also,

if you are an intermediate level actor, you do

not need to take the beginning class.

We do not have any advanced classes scheduled

at this time. However, a master class will be

scheduled at a future date.

BEGINNING

SAG-AFTRA ACTING EXPERIENCE: Background

work and/or one TV co-star role and/or two

TV commercial credits (include union

productions before you were a member)

OTHER ACTING EXPERIENCE: None or limited

to community theater

STUDENT or AFI FILM EXPERIENCE: None or up

to three credits

ACTING TRAINING OUTSIDE OF SAG-AFTRA

CONSERVATORY: None or limited to one year

or less of training

INTERMEDIATE

SAG-AFTRA ACTING EXPERIENCE: TV–Has two

or more TV co-star or guest star credits, and/

or four or more TV commercial credits

(include union productions before you were a

member)

OTHER ACTING EXPERIENCE: One or more

professional theater acting credit (preferably

Equity or Equity Waiver)

STUDENT or AFI FILM EXPERIENCE: Four or

more credits, or a lead role credit in two or

more projects

ACTING TRAINING: Equivalent of two years or

more of ongoing classes

MISSION STATEMENT The SAG-AFTRA Los Angeles

Conservatory exists as a place for

actors to stretch their artistic muscles,

practice their craft and sharpen their

skills. The Conservatory also provides

actors the opportunity to build an

artistic community in a safe and relaxed

setting. Overseen by dedicated

professionals, the SAG-AFTRA Los

Angeles Conservatory offers members

a means to nurture their talents,

mechanics and skills through

workshops, seminars and AFI student

projects. The goal is to lead to a better

understanding of the role of the

professional actor, in the business of

acting, and to a more successful

and productive career.

SVW WORKSHOP

SELF-SELECTING CRITERIA

ACTORS WANTED AFI cinematographers

and directors are often

looking for actors to

volunteer and assist in

various classes and

workshops on the AFI

Campus. Although no

footage is given from these classes, you

have the opportunity to work alongside

and network with some of the best

up-and-coming filmmakers in the

industry. Many times, actors are needed

for a few hours during the day, but in

those hours, great relationships are often

formed and it can also be a fantastic

learning opportunity for you to gain more

insight into the world of filmmaking from

the other side of the camera!

If you are interested in being submitted

or called upon when these needs arise,

please email Dawn at

[email protected]

or call the office at 323.856.7736

6

THE PRACTICAL

ACTOR Advice from a Working Actor

By Kevin McCorkle

Q: “There seems to be a ton of non-union work out there and some of it pays pretty well. Sometimes they even offer ‘SAG-AFTRA rates.’ I’ve only done a couple of SAG-AFTRA jobs. What is the harm if I do a few non-union jobs to help pay the bills?”

A: The climate has changed a bit since I ventured into the world of professional acting 33 years ago. There has been an evolution, from three networks and a few cable channels to hundreds of channels, Internet distribution, streaming, digital video recording and more content than can be imagined. One thing that hasn’t changed is the desire to take advantage of actors. Many actors would gladly work for free in order to do what they love to do.

Actors are free to create their own practice spaces getting together with peers much like bands rehearsing, actors can create their own content to develop a reel representative of their work and actors create non-profit intimate shows much like athletic teams preparing for a big game or match. When it comes to a for-profit model of work with creative artists that have successfully made money, it is important to examine the work offered and determine if you are being exploited and taken advantage of.

The business side of acting is as important as the artistic side. If you want a successful career instead of a hobby, then you need to protect yourself and allow your union to protect you. “No” is a very powerful word in your life and in your career. Saying “yes” to an exploitive non-union job harms not only your career, but the careers of others. Some of the “buyout rates” offered may sound enticing but without workplace protections, contributions to health and pension, and in the case of commercials, a non-perpetuity clause, you may be harming your career in the long run.

Union protections for actors have been fought for and preserved by those who came before us and were taken advantage of and exploited. Residuals, safe working conditions, reasonable working hours, hot meals on sets, Coogan accounts for minors, health insurance, pension benefits, limits on commissions by agents for work, safe and comfortable travel to work out of town, along with safe accommodations and many other basic benefits allow for a career that is financially sound and physically safe. Without your union, most of these rules and protections would go away. Any time you work off the card you chip away at these rights that were hard fought for and painfully won. If enough erosion happens to destroy our union, the situation will get worse and worse. With no standard and no checks and balances, even these tempting offers of non-union paying union scale (or higher) will disappear and everyone’s career, except for the elite one percent, will become a hobby. Don’t be fooled and don’t be tempted to take the bait. It is a trap that will destroy your future and the future of all actors.

DO YOU WANT TO AUDITION FOR AFI PROJECTS?

CREATE OR UPDATE YOUR

iACTOR PROFILE TODAY!

For the first time, the Conservatory database for

casting will be online! We have joined forces with iActor, so all Conservatory

members wishing to be considered for AFI projects MUST have an

iActor account. Click the link to create or update yours today.

www.sagaftra.org/iactor-online-casting

7

http://www.sagaftra.org/iactor-online-casting

By joining the SAG-AFTRA Conservatory, you have taken an aggressive and positive step in advancing your career.

Congratulations! We hope you’ll make the most out of your experience here by participating in our workshops and special events,

volunteering, and contributing your talents to AFI directing and cinematography classes, as well as of course, the first and second-year

films. AFI is a two-year Masters program and, with our SAG-AFTRA agreement, first-year students, called Fellows, are

required to use SAG-AFTRA Los Angeles Conservatory members.

We are located on

the campus of

The American

Film Institute

2021 N. Western Ave.

Hollywood, CA 90027 If you are heading east on

Franklin Ave., turn left

(north). The AFI campus is

halfway up the hill on the

left. Turn into the drive-

way and go up the hill

(past Immaculate Heart

High School). The first

building on your left is the

Warner Building where

many auditions for student

films are held. To get to

the SAG-AFTRA Los Ange-

les Conservatory, continue

driving further up the hill.

As you veer left, you’ll see

a white two-story building,

the Mayer Library Build-

ing. The SAG-AFTRA

Conservatory office is

located in LIB 100 on the

ground floor. The studio,

classroom and the

Frankovich/Barnes

screening room are

also located on the

ground floor.

2021 N WESTERN AVE.

LOS ANGELES, CA 90027

PHONE: 323.856.7736

[email protected]

WWW.SAGAFTRA.ORG/

LACONSERVATORY

SAG-AFTRA LOS ANGELES CONSERVATORY

Rules and Regulations 1. Membership subscription is $35 per annual season and is

non-refundable. 2. You must be a paid-up SAG-AFTRA member in good standing.

However, only those who reside in the Los Angeles area may participate in the AFI projects. Conservatory membership begins when your application is received and processed, and will continue through July of the following year.

3. If you are unable to attend a workshop or attend an audition, you must call the office in advance, if possible. Cancellations will be honored until 10 a.m. the following day. If you fail to cancel, a “no-show” will appear on your record. After one “no- show,” you cannot take the missed workshop for three months. If you get three no-shows, you will be prohibited from taking ANY workshops for three months.

4. Workshops are closed 15 minutes after the scheduled start time. Latecomers may not be allowed into the class and may be recorded as a no-show. Please be courteous of others and be on time.

5. Workshop leaders will announce the applicable rules and regulations of each particular workshop at the start. If a member breaks any rules, the committee reserves the right to remove the member from the workshop and/or the Conservatory.

6. Members who miss an audition for any AFI project without calling to cancel will lose the right to audition for the remain-der of the semester. The SAG-AFTRA Conservatory office will notify members that they have two weeks to explain their actions in writing. If a letter is received, the Conservatory Committee or its designees will accept or deny the excuse. Incidences deemed unexcused will result in the member being marked ineligible for any and all casting consideration by AFI fellows for the semester. Members may appeal the decision by requesting an appearance before the committee as detailed in section 7 below. Repeat occurrences may jeopardize membership in the Conservatory.

Members who have broken any of these rules, or who have been

cited for conduct unbecoming will be notified in writing of the grounds for dismissal. The member has the right to a hearing before the Conservatory Committee and will be provided a description of the process in advance of their appearance.

a. If the member elects to have a hearing, it is the member’s responsibility to contact the office at 323.856.7736 within 10 days, or as otherwise instructed, from the receipt of the committee’s letter. Members who do not appear before the committee will have their membership canceled.

b. Hearings shall be held at SAG-AFTRA offices before no fewer than seven Conservatory Committee members at the next scheduled committee meeting.

c. The decision of the Conservatory Committee is final. Appeals may be requested within 10 days of the receipt of the committee’s decision. Appeals must be sent to the SAG-AFTRA Los Angeles Executive Committee.

SAG-AFTRA members are expected to conduct themselves in a professional and respectful manner at all times. This includes, but is not limited to, their fellow members, the

SAG-AFTRA volunteers and staff, as well as the AFI fellows and staff. We appreciate your cooperation in helping to make the SAG-AFTRA Los Angeles Conservatory a great

place for actors to work and learn together.

8

Documents

Fall 2015 - SAG-AFTRA · 2015. 9. 3. · Take advantage of the many opportunities the Conservatory provides. Enjoy your experiences in the classes and hopefully, as part of one or