If one participates in a lie (of any form and for anything) by either building, crafting, speaking, printing or even just going along with it...
Then that one will be lied to also.
You do not have a right to demand, require, insist or expect not to be lied to...you will be lied to.
You set the standard by just going along with a lie and not telling truth. When you even go along with a lie...It means you condone lies.
Everything built or based on lies falls apart. Like the famous house that was built on sand...no strong foundation.
Wednesday, October 29, 2008
Wednesday, October 8, 2008
SOCIAL ENTREPRENEUR IV
It has been written that the best measure of success for social entrepreneurs is not how much profit they make, but rather the extent to which they create social value - social entrepreneurs act as change agents. Increasingly, the social sector is finding that becoming more entrepreneurial and innovative can be very rewarding – in a financial sense as well as in terms of the spirit and energy that is released within an organization at all levels.
Monday, October 6, 2008
SOCIAL ENTREPRENEURIII
"Making a profit, creating wealth, or serving the desires of customers may be part of the model, but these are means to a social end, not the end in itself. Profit is not the gauge of value creation; nor is customer satisfaction; social impact is the gauge. Social entrepreneurs look for a long term social return on investment." - J. Gregory Dees
Sunday, October 5, 2008
Talent Agents and Managers
It's the million-dollar question:
How does an actor stand out from the crowd of wannabes and land representation?
First, let's talk about finding the kinds of representation:
talent agents and managers.
A talent manager's job is to provide entertainment career guidance: helping a client to select classes, coaches or monologues; working with a performer to rehearse; exposing actors to casting directors; and helping to plan what direction a performer should be heading.
Talent agents, meanwhile, submit you for work and book and negotiate jobs for you. Ideally, if you have both, your agent and manager will have a solid working relationship with each other.
The basic way to approach finding talent agents and/or managers is of course the mailed-in submission, which consists of a cover letter, resume, and headshot(s). You may also include a reel, if you have one.
When it comes to putting your packet together, it's essentially best to keep things simple. After all, agents and managers have seen every gimmick in the book — from food to party favors — and these gimmicks end up in the trash. But if you're in a play or showcase that spotlights your talent particularly well, invite reps to see you.
While it is possible to get your foot in the door via an unsolicited submission, many reps much prefer to hear about talent through referrals. To land that valuable referral, work on your networking skills and watch for opportunities. For example, if a casting director seems impressed with you at an audition, ask if he or she can refer you to a rep.
When scouting for reps in the entertainment career field, keep your guard up. Research prospective reps and the local laws governing them; many cities and/or states require talent agents to be licensed, for instance. Also, check if an agent is either franchised by the Screen Actors Guild or a member of the Association of Talent Agents or the National Association of Talent Representatives. Currently, most ATA and NATR members are not franchised by SAG, but may still represent you for union work.
Managers are not regulated the way agents are, but you can find out if they're certified by one of the talent managers' trade organizations: the Talent Managers Association or the National Conference of Personal Managers. Each requires that managers abide by a code of ethics.
Don’t be shy, ask for client referrals and be on the lookout for common scams, such as reps asking for money up front or requiring you to pay for certain services, like photos or classes.
How does an actor stand out from the crowd of wannabes and land representation?
First, let's talk about finding the kinds of representation:
talent agents and managers.
A talent manager's job is to provide entertainment career guidance: helping a client to select classes, coaches or monologues; working with a performer to rehearse; exposing actors to casting directors; and helping to plan what direction a performer should be heading.
Talent agents, meanwhile, submit you for work and book and negotiate jobs for you. Ideally, if you have both, your agent and manager will have a solid working relationship with each other.
The basic way to approach finding talent agents and/or managers is of course the mailed-in submission, which consists of a cover letter, resume, and headshot(s). You may also include a reel, if you have one.
When it comes to putting your packet together, it's essentially best to keep things simple. After all, agents and managers have seen every gimmick in the book — from food to party favors — and these gimmicks end up in the trash. But if you're in a play or showcase that spotlights your talent particularly well, invite reps to see you.
While it is possible to get your foot in the door via an unsolicited submission, many reps much prefer to hear about talent through referrals. To land that valuable referral, work on your networking skills and watch for opportunities. For example, if a casting director seems impressed with you at an audition, ask if he or she can refer you to a rep.
When scouting for reps in the entertainment career field, keep your guard up. Research prospective reps and the local laws governing them; many cities and/or states require talent agents to be licensed, for instance. Also, check if an agent is either franchised by the Screen Actors Guild or a member of the Association of Talent Agents or the National Association of Talent Representatives. Currently, most ATA and NATR members are not franchised by SAG, but may still represent you for union work.
Managers are not regulated the way agents are, but you can find out if they're certified by one of the talent managers' trade organizations: the Talent Managers Association or the National Conference of Personal Managers. Each requires that managers abide by a code of ethics.
Don’t be shy, ask for client referrals and be on the lookout for common scams, such as reps asking for money up front or requiring you to pay for certain services, like photos or classes.
Saturday, October 4, 2008
Acting As A Business
Acting is many things. It's an emotional release; it's an artistic expression; it's playful and fun. But sometimes — let's be honest — acting is just something to do.
Many of us hate to deal with it, making your living as an actor brings up many legal and financial issues, from taxes to contracts. You might have to deal with managers and agents. And get regular work in the meantime.
Before getting that big break in an entertainment career, many successful actors worked regular everyday jobs. Many worked as waiters, temps, clerks, salesmen, web designers — even behind the counter at a fast-food joint. They scrimped and saved money for classes, headshots, and bus fare to get to the acting auditions available to them. The "struggling actor" is more than a cliché? because it's true.
To keep the struggling to a minimum, learn quickly the best ways to handle your money. Networking skills are essential; they can get you in the door with key people such as agents, managers and casting directors. Likewise, knowing the proper etiquette — for everything from auditions to contacting agents—could help smooth the way to success. Remember, it’s better to make excellent and lasting impressions. Nobody want to work with a troubled, brat personality.
Going on tour for the first or 50th time? Study and learn the best ways to prepare to make it a less stressful experience. Finally, technology is such a dominant part of our world now. Learn how it can best assist you in your entertainment career — beyond downloading tunes onto your iPod.
Friday, October 3, 2008
Cartoonist/Animator
Provides drawings or animations used in advertising, programming and promotional efforts, to amuse audiences, or to meet other needs.
Uses various methods to communicate the organization's efforts through an assortment of freehand artwork. May prepare artwork for printing or mass production. No formal experience or training necessary.
Just talent.
Salary: $60,000
2008 Salary.Com
Uses various methods to communicate the organization's efforts through an assortment of freehand artwork. May prepare artwork for printing or mass production. No formal experience or training necessary.
Just talent.
Salary: $60,000
2008 Salary.Com
Thursday, October 2, 2008
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