I took some time off this summer and did some traveling.  When I returned I reached out to my current and former students asking what they’ve been up to.

I was wonderfully surprised to see that on one particular weekend in September there were a large number of my actors that were in film festivals around the country. Some shorts, some features, and many more telling me they were working on theirs and others were almost finished. I was amazed by the number of actors who responded.

What is most exciting to me is that in nearly every one of these instances, it is the actors who were involved in the creative process, and it is their personal project.  Yes, also many actors booked commercials, stage, TV, and film but these particular actors actually created, developed, and produced their own material.

My note to them and to those of you reading here is this.

 These projects would never have existed or be seen by the world without your creativity, passion, drive, and desire to express yourselves. 

And the material was not only entertaining, but educational, stimulating, and insightful in the area of the human condition.

This is so much in the vision and mission statement of The Actors Workout Studio which is, “You don’t come here just to study, you come here to work.”  I’m so proud of all of you.

What kind of artist are you? Are you waiting for someone else to hire you so you can work?  Do you want to create projects yourself and not be waiting around for someone else to recognize you?  

I suggest you do both. While you’re waiting for your phone to ring, be creative. 

We are in a time where the technology is inexpensive and available that you can do that. The shooting, editing, and effects are easily done very economically. There is YouTube, Facebook, Google, TikTok, and so many more places to distribute. This is a great time for artists to be seen and heard and to give your message.

When I was a younger actor, the only way to do that was through theater. I loved it, and spent many years where I was either in preproduction, rehearsal, or performing on stage. All with projects that I created. And all the while enjoying getting hired by someone else to collaborate on their project. It kept me alive, passionate and creatively satisfied. The difference there was when the play was over, no one could see it. And people out of town didn’t get a chance to see it.

Now your work is evergreen, it can be seen forever and anywhere on the planet. This is a great time for artists to create.

Don’t just sit around and wait, create.

Fran Montano
Actors Workout Studio

The post Don’t Stop Creating appeared first on NoHo Arts District - Theatre, Food, Bars, Shopping and a buzzing community..

In my first finding an acting class blog, I talked about where to look in finding an acting class, school or teacher. What to look for and what questions to ask.  In part two I talked about reviews. 

In part three of Finding an Acting Class, I’m going to hash out the most key part, finding a teacher or coach that can really work on your instrument. 

There are a lot of academics and techniques that actors need to learn and use. How to break down a script, how to make choices, finding the arc, what is the objective, etc.  All that is important but there is something that matters most after you have all that.

Here’s an audition situation. You are going in to read for a part. It might be three pages long.  There might be 50 actors in front of you and 50 actors behind you. You’re all reading the same words, and you all basically look the same. You’re all trained, (actors come to L.A. from all over the world and the best schools) and know all the academics of how to prepare. 

What do you have over the other actors that is going to get you the part? It is who you are. So, the biggest part of getting good training (after you know the academics and technique) is finding someone who can help you with who are you and what you are personally bringing to the role that makes you unique. 

Are you bringing your soul, spirit, and personality to the performance? I like to say not “who do I have to be to play this part, but who is the character because I’m playing him or her?”

This is where the real coaching begins. It’s not academic or technique. In many ways, it is therapeutic, psychological, spiritual, and using deep personal insight. That is not linear, it’s complicated and where the work is truly realized. That work happens not in your head but in your body.

Here is an email I sent to my class one morning after a powerful night’s class.

It’s 6 AM and I woke up stimulated about the work I saw in class last night. I can’t sleep.  Thought I’d share a story that happened in class years ago, a while ago before any of you were studying here. It’s a conversation between an actor and teacher.

“I think you’re a good teacher but I think I need to take a cold reading class. I am starting to go out on auditions and need that”

“I am teaching you cold readings”

“No, I mean an audition class where you get material and learn how to read it for auditions”

“That’s what I’m teaching you”

“ No, we’re doing repetitions, and improvs, and exercises and only doing readings once in a while”

“That’s a big part of learning how to do it”

“ I mean I want a class where we do that every week, so I can get comfortable with a script in my hand and break down the material”

“That’s what we’re doing”

“Yes, but not often enough, I’m tired of reps and improvs, I want to do material”

“That’s how you learn how to do material”

“Sorry, I think you don’t get what I mean. I go out on auditions and don’t feel strong enough with my material, I’m not spending enough time on them.  I want to be in an audition technique class, where I can put it on my resume, Audition Technique class”

“You’re doing that here”

“You don’t get me”

“Improv, repetition, and the exercises are how you learn to prepare a character, make emotional choices, work moment to moment, and use yourself more in the material”

“I know all that, but I want learn how to audition, I need to learn how to break down a script”

“You are doing that here”

“But it doesn’t seem like it. And it’s not enough.  Not fast enough. This is a technique class, not an audition class”

“Yes it is”

“ You just don’t get me”

“ No, you just don’t get me or the work”

“Now you’re insulting me”

“No, I’m just telling you this is how you become great at auditioning”

Last night the work in readings were pretty much spot on, perfect, nailed. Moment to moment, good characters, with solid emotional preparations. It was like watching short plays with a  beginning, middle, and end, and full complete expression of the characters.  Even the rhythm of the writing was spot on.  Body language and movement was perfect.  There was one adjustment thrown out to Jenny and Chris and it was executed perfectly with the adjustment. A great sign that the actor can take direction.  As I mentioned last night, it is exciting to see the breakthroughs with all of you when it comes to material. You all made it look so easy and effortless.   Yes, it’s a journey, but you used  the writing to bring yourself to the roles. I think everyone would agree that the readings last night were excellent. And it almost looked like the material was made for you. You watched them, agree?

By the way, the dialogue that I shared above was with a young, arrogant acting student and his teacher.  The student was me. The teacher was my teacher, Ed Kaye Martin. Shortly after that conversation, I started booking work regularly as did everyone else in that class. 

Find a coach that sees you and gets you, and who can break you of bad habits and places where you hide. 

“Sometimes you have to go a long distance way out of the way in order to go a short distance correctly.” – Edward Albee

Break a leg.

Fran Montano
Actors Workout Studio

The post Finding an Acting Class – Part Three appeared first on NoHo Arts District - Theatre, Food, Bars, Shopping and a buzzing community..

In my last blog, “Finding an Acting Class – Part One,” I talked about finding an acting class, a school oran acting teacher. What to look for and what questions to ask. In “Finding an Acting Class – Part Two,” I am going to talk about reviews of coaches and schools. 

First, a background on how reviews get on Google, Yelp, and followers on Facebook and Instagram.  Keep in mind there is an entire business in getting reviews, followers, and likes for your business. There are countless places that will get you reviews, likes, and followers for a monthly fee!  So you might want to be aware of that.

Here are some horror stories that I’ve heard about businesses in general regarding reviews and likes. (Disclaimer, I’m not saying these are true, just stories I’ve heard.)

1. A business might hire a company to get reviews. I heard a rumor that sometimes production companies will pay a service to get Rotten Tomatoes reviews. They may not have even seen the movie but people get paid to write a good review. 
2. I know one instance where a competing business wrote bad reviews about the other.
3. Sometimes in an acting class, someone may be offended by certain emotional expressions that either scare them, turn them off, or intimidate them. Only seeing one class, they form an opinion in general. They don’t understand the process. I know an example of an actor who was having a very difficult time crying. After a few months of work, the actor finally broke down and cried for 10 minutes. The actor was praised and celebrated by the class. A review came out that someone cried in class and everyone cheered, and that it seemed insensitive and it insulted them. That person only saw that class and made a judgement. They didn’t understand the process.

Here’s my summary.

1. If you only see good reviews, be suspicious.
2. If you only see bad reviews, pay attention to that.
3. If you see a variety of mostly good and some bad, that’s a good sign to me. It reveals that the company is not stacking only good reviews.
4. If you write a review or read a review from only seeing one acting class, you might not know where in the process the actors in class might be.

The bottom line is, read reviews to get a “feel,” then go and see for yourself. Attending a class audit is the best way to experience the class. If something comes up that concerns you, ask the teacher, and maybe go back and audit again.

I explain to my auditors what might come up in a class. Depending on the situation, I often invite people to come back another time to see how the class can fluctuate.

What bothers me the most is when someone audits one class and writes a review on that experience. It’s like watching a football team get beat, and then assume and review that they are a bad team. They might have had a bad night. Go several times before reviewing.

The bottom line is you have to take all these considerations and weigh them for yourself. You can definitely get a “feel” from reviews but don’t take them too much to heart. The same with a movie review. They are subjective.

It’s hard to find the best teacher for you. Everyone is different. What works for one actor might not work for another. Much of it is trial and error, but trust, respect and instinct is very important. If you have questions, ask, if you want to go back for a second look, you should be able to.  Don’t give up and don’t just give in.

Break a leg.

Fran Montano

Actors Workout Studio

The post Finding an Acting Class – Part Two appeared first on NoHo Arts District - Theatre, Food, Bars, Shopping and a buzzing community..

Looking for an acting class? I get asked a lot, “How do I find the best class for me?”  Actors go to Yelp, Google, referrals, advertising, and social media. There are many places to find information.  I think the best way to start is to get a referral from someone who has taken classes whom you respect.  If you’re new and don’t know a lot of actors, of course you’ll go to Google, Yelp, advertising, or other sources.

Here are a few things to consider and questions to ask about finding an acting class.

1. How much is the class? 

You want to make sure it fits your budget as you will want to make a commitment for yourself. An amount that you can pay on a regular basis as you will want to study for a while if you’re serious.

2. Location 

Yes, we are lazy and if class is across town it can be easy to not go. If you’re in the right class, you should be getting challenged and pushed so you will easily find reasons not to go on a given day. Funny how people get sick a few hours before class.

3. How long is the class?

That includes time per class and how long the session is. Be careful about committing to a long-term session. What if it doesn’t turn out to be what you expected? Some places require a two-year commitment, some month to month, some  anywhere from four to 12 weeks. I tell people they should consider at least a three-month commitment to themself to really understand and get the work. 

4. How many students per class and how often do you get to work?

Some classes make sure that everyone works each class. Many have you watch and go up every few weeks. I don’t like that at all and suggest you question that for yourself. (You don’t learn how to dance or drive a car just by watching. You need to get up on your feet )

5. What is the curriculum? 

What will you be doing in the class? Exercises, scenes, improv, audition technique. Know what you’re looking for and ask.

6. Experience of the Teacher 

There is no official certification to call yourself an acting teacher, so ask their history, experience, philosophy and why you should study with them.  Just because someone might be a working actor, they may not have the skill or talent to coach an actor to get them where they need to be.  (I know self taught musicians who can’t teach music because it came too easy for them)

7. Check their website for any videos

Many times you can see an acting teacher in action, on their website, or on You Tube. This is great as you can get a feeling of their personality and style. That’s a good thing to do so when you go in you have an idea and it will take away some of the nervousness you may have. When I ask people why did they come to me they usually say they either heard about me or were referred, but when they went to my website and watched my video, that confirmed it for them.

I tell any prospective student, “I’m not for everyone, yet I’ve been teaching for over 30 years, so if it’s right for you, you’ll know it, and if it’s not, it’s taking you to the next step to find what is right for you.”  I also don’t charge actors for auditing a class, and usually invite them to work so I can see their work, work with them to get a feel for them as well.  I tell them, “I’m auditing you as well to see if I can work with you.”  (Auditing by the way is when someone comes to see a class and sit in.) 

Be cautious if a teacher charges you for an audit. If they do, they should work with you. Just to pay to watch is a red flag to me.  I know some of my colleagues will disagree with that, sorry, but I would never do that when I was a student and won’t do that with a potential student unless they want to fully participate.

Final note. You have to feel good about the class, people involved, and mainly your teacher. You need to feel safe, challenged, and the language needs to feed you. 

All the best in finding an acting class.

Next time I’ll talk about reviews on acting classes.

Fran Montano
Actors Workout Studio

The post Finding an Acting Class – Part One appeared first on NoHo Arts District - Theatre, Food, Bars, Shopping and a buzzing community..

I’m writing this blog on April 15^th, 2024, tax day. A good day to talk about money, this subject potentially being a controversial one.

Disclaimer – I am not giving any opinion or comment on union vs. non-union work. This is purely fact-finding information for actors, as many have questions regarding the commission situation for non-union work. I am not qualified or knowledgeable in this area, so decided to do some research and report my findings.  Here is what I’ve found. I suggest you take this and any questions to your accountant, agent, or lawyer for any issues or clarification. This is what I’ve found regarding commercials.

Union Contracts.

The contract for union commercials is fairly standard. Agents get 10% of the session fee plus 10 % of all residuals. For example, (let’s use $1,000).

1. If the contract reads $1,000, the actor will receive $900 and the agent $100 (10% commission). After that, the agent will receive 10% of the gross residuals and the actor 90%.
2. If the contract reads $1000 plus 10, the actor will receive $1000, and the agent will get $100. The production company or advertiser is paying the extra 10% to the agent for the actor’s commission.

This is standard and if you are a union member, you have the full power of Sag/Aftra behind you with any issues or concerns. 

Non-Union Contracts

These are negotiated by each agent, but generally they are this:  agents get 20% for non union work. This includes session fees and any residuals (called ”buy outs” for non union).

1. If the contract says $1000, the actor will receive $800 and the agent $200. 
2. If the contract reads $1000 plus 20%, the actor will receive $800, and the agent will get $200. The plus 20% is considered by many agents as a “booking fee” so they get an additional $200 as well, for a total of $400.

My research shows that there is some controversy regarding that 20%. Some actors feel the production company is paying the 20% for the agent’s commission (like union jobs do). Agents call that 20% a “Booking Fee.”  Most agents are all in agreement with this so it’s tough to fight. It also may legitimately be a booking fee. Not sure where the production companies or advertisers stand on this issue, or what is the legal interpretation.  Regardless, the union will not help you there as it’s non union and their answer will most likely be, “Don’t do non-union jobs”.

The bottom line and my question (rhetorical) is for actors to understand this: If you get a union job, your agent gets 10%. In most cases on a non-union job, your agent will get 40%. 

One statement I heard some agents make is that they don’t make as much for all the work they do on non-union jobs. The payout rates on non-union jobs is lower for non union than union for the same amount of work required. So hence, a higher fee is required. 

For actors, this is what I’ve found. If any of you know anything more or if I got some of this wrong, feel free to let me know.

Hope this helps. And again, just the facts, just the facts. 

Fran Montano
Actors Workout Studio

The post Union and Non-Union Commissions for Commercials appeared first on NoHo Arts District - Theatre, Food, Bars, Shopping and a buzzing community..

You might be reading this because you saw the title of this blog. Maybe it caught your attention. This is short, you might not be too satisfied with the response, but it’s the best I ever heard.

This is a short transcript from Charlie Rose interviewing Steve Martin.  It’s short but nails it. Here’s “How to Be Successful.”

Charlie Rose: 

“Someone stood up in an audience somewhere and said to you how do you be successful? And you said you have to be undeniably good at something.”

Steve Martin: 

“Well it really is this. When people ask me, say, how do you make it in show business or whatever. And what I always tell them, I’ve said it many years and nobody ever takes note of it because it’s not the answer they wanted to hear.  What they want to hear is, here’s how you get an agent, here’s how you write a script, here’s how you do this. But I always say, be so good they can’t ignore you.  And I just think that if somebody’s thinking how can I be really good? People are gonna come to you. It’s much easier doing it that way than going to cocktail parties.”

My advice when coaching actors for auditions is this. You don’t want a “maybe,” or “no” or even just a “yes.” You want this, “I can’t say no tothis actor. If I don’t use them here I’ll find something else.”

You want them to not be able to say no. And like Steve Martin said, you have to be undeniably good.  

Thanks Steve. Something to think about.  Break a leg.

Fran Montano
Actors Workout Studio

The post How to Be Successful appeared first on NoHo Arts District - Theatre, Food, Bars, Shopping and a buzzing community..

Happy New Year! Are you ready for the new year? Do you have your materials ready? I have been having this discussion with actors in my classes recently.

It’s January, my past blogs in the beginning of the year have been about the business of acting. You can check them out (Part I, Part II) if you’re interested in things you can be doing to kick off the year. 

My message today (Get your Sh##t Together!!) is make sure you have your media, promotion materials, quick, easy and readily available. 

When I get an inquiry from a potential student for my class, I ask for their picture, resume, and information on themselves.  It’s like a business card, information that I have everything I need to see about that person.

Sometimes I get a photo, the next day a resume and few days later a video of some work. That tells me one thing, they don’t have their sh##t together!

Every actor, if you’re serious about being a professional, or if you want to be taken seriously as a professional, you need your kit, your media information, easily available. 

I tell actors, it should be a one-link email.  

I had a producer and director attend a class this month.  They watched the actors work, then gave out some sides to read and even improvised situations. They had a lot of contact with the actors and got to work with them. When they left, all they had is their name on a piece of paper. They weren’t interested in looking at photos or resumes, they were here to see the work, period.

The next day the director contacted me, thanked me, and asked to have the actors send their information to him. This is a busy person, with probably hundreds of emails every day. I told my actors, send one email with one link that can show them everything they need to see. That includes photos, resumes, training, special skills, different looks, some short specific clips, IMDB link, any other links or information that might be relevant, and a one-minute reel if you have one.  Also, any more information about you, like if you do something special or are known for something different. 

One-stop shopping. Make it easy for these industry people to see and know you!

If they have to go looking for you, they will stop as it takes too much time and energy and it also shows them you’re not the professional that you think you are.

You don’t have to spend a lot of time creating a website for yourself, although that can be great. You can do this very inexpensively, even free if you know your way around. Also, you can have profiles on Actors Access, casting networks or Backstage West. 

Whatever you do, it shows them who you are and where you are in your professional journey. 

Make it fun and easy and you don’t have to spend a lot of money to do this. This is basic and if you’re serious about this work, that should be all handled.  

All the best in 2024! 

Fran Montano
Actors Workout Studio

The post Get your Sh##t Together!! appeared first on NoHo Arts District - Theatre, Food, Bars, Shopping and a buzzing community..

I like to think we, as actors, have our own language. Other professions have their own shorthand and specifics.  For example, chemists can describe anything on the planet with a simple combination of 118 elements. Water is H2O, healthy to drink, sulfuric acid is H2SO4, and drinking that can kill you. Both are clear liquids to the common person. NACL is salt. NaHCO3 is baking soda. Both are white powder to the common person, but very different. The chemist’s language is specific, direct, and speaks directly to the root and details of what they are describing.  Police officers give you a citation with a specific code. It gets to the root of exactly what they are talking about.

I like to think actors also have our own language, and that is “behavior.” Behavior in my curriculum means how you (and your partner) are expressing yourselves physically or emotionally. If you study Meisner you do that from the beginning with the repetition exercise.

The idea of speaking to behavior is to get out of your head, get into your body and connect with your partner. You don’t have to think (and thus be in your head) to see what color their shirt is or if they are smiling or frowning. Their size, shape, hair color, physical details, shoes, jewelry, etc. The idea is to connect what your body is communicating to what their body is communicating.  

I like to give the example of showing up on a set and meeting your partner in your guest-starring role. You might meet for the first time on the set while in hair and make up. And your story line is you’ve been married for 25 years. How do you create the chemistry?  Many people make lists, do story history, create background, use sense memory, substitution, etc.  Good to do. Yet, the bottom line is you need to make that specific person your lover, partner. And the best way I’ve found is to speak and listen to each other’s body and behavior. Notice them deeply, what they’re wearing, the wrinkles, the age marks, teeth, hair, how they move, smell, the sound of their voice, etc. They need to be the person ultimately. I like to say, “If they (audience director, casting director)  doesn’t believe you have a 25-year history, you don’t get the job or you’re fired.” You need to do your side of the work on this. Each actor has their own process but one technique you can use for yourself is to notice the behavior, not only theirs, but yours, as that is the essence of chemistry.  Speak to it, either to yourself or to them, connect on a visceral level, and get out of your head.  If this is not a part of your process, give it a try next time and see if it helps.

I talk more about this in my book, “Act Authentically.” All the best. Remember, it’s not enough to just create a character and relationship, you must create chemistry.

Fran Montano

Actors Workout Studio

The post The Actors Language appeared first on NoHo Arts District - Theatre, Food, Bars, Shopping and a buzzing community..

Well, the strike is over. Congratulations to all of you who have stuck it out. Let’s face it, we’re all excited to get back to work. Production is rescheduling and readjusting their schedules. Agents, managers, casting directors, publicists and so many others are getting back to their work.  For many of you, it sounds like a chance to get back to work, back to auditioning, and back in the game. My advice is to be patient. We’ve come a long way, and for many, it might not happen right away. Be patient, everyone is adjusting.  Connect with your team, agents, managers, casting directors. Connect with those you know and have relationships with. Let them know you’re ready and make sure you are ready. Your reel, resume, media all should be current and up to date. Have your tools in perfect shape and your instrument working excellently. Then…. be patient and give it time, give yourself time, don’t be desperate, it is coming back. It might take some of you more time than others, don’t be judgemental, just have your ducks in a row so you are ready for what is supposed to happen for you.  Remember, attitude is everything. After craft and preparation is solid,  attitude is what is necessary.  If things don’t happen right away, take a look at what needs to be tended to, be patient with yourself, get help from your team, coaches, and whoever is supporting you. You want to be ready when auditions come your way, and they will.  If you’re doing your work, they will. As always, I believe you need to be in a class or workshop that keeps your game sharp.

The most important thing is to stay patient and know even though the strike is over, it could be a little slow before everyone starts working. Don’t get discouraged, we are back in business, and your time will come. It may not be immediately. Remember, attitude is everything right now. 

I wish you the best. It’s finally over.

Fran Montano
Actors Workout Studio

The post The Strike is Over – What’s Next? appeared first on NoHo Arts District - Theatre, Food, Bars, Shopping and a buzzing community..

This is a challenging time for creative people in the business. I get many inquiries asking, “What can I be doing during the strike?”  For so many actors, auditions have dried up, work has come to a stop and the creative juices are melting away. I have many actors checking in as they have so much more time on their hands. You need to keep working I tell them.

One actor asked about returning to student films and small independent projects. He wanted to move away from those types of projects, do more advanced work, and get paid as well.  It’s okay to go back to those projects if they fit into your schedule. The important thing is to keep working. Keep your instrument in shape. It does several things for you – keeps you creative, alive, and productive.  

Here are some suggestions on how to stay creative during the strike:

1. Take a class – if you’re not currently in class it’s a good time. There you can work out each week with other creative people and get professional feedback.
2. Student films, and independent projects that don’t fall under the contract agreements. It’s ok. Not a demotion or step backward for you. It’s you taking care of your art.
3. Gather with others and have home readings, salon performances. Get a few friends and read scripts and plays together. It’s social as well as a  chance to work out your instrument.
4. Go see plays. The theater is a great place to get nourished and stimulated as well as it supports the arts.
5. OK, take a vacation. If you’ve been wanting to take some time for yourself and worried about missing auditions, now is a good time.
6. Work on that script, story, novel, song, or painting project that you said you’d do when you have time.
7. Donate your time. Volunteer at places where you can serve and  help your community.

The most important is, don’t be a victim. This strike is big and could last for some time. It is affecting many professionals, those in the business and many who serve the business. Know that you are not alone in this. Gather with others and keep the work going.  The world needs it and will need it even more, and welcome it when this is resolved. Don’t let yourself become jaded. You are too talented.

Till next time.

The post Stay Creative during the Strike  appeared first on NoHo Arts District - Theatre, Food, Bars, Shopping and a buzzing community..