Dear Jackie:
I use my pager number for initial contact for prospective auditions. The problem is that I live in "pager hell," where the thing doesn't always work. The voice message will still be recorded, but it doesn't always come through on the pager. So I have to call my pager each day, which is a pain.
I've had this number for a long time, but I've been thinking about using my cell phone number. My question pertains to the area code: My pager is (818), but my cell is (661). Do you think it makes a difference? Do you think producers and casting directors. will be more likely to respond to the closer area code, (818)?
Living in Pager Hell
via the Internet
Dear Pager:
As unpopular as this opinion may be with those living outside the major acting cities, I think area code matters. Maybe I'm being overly picky here, but, to me, a long-distance phone number implies a long-distance actor. And a long-distance actor implies possible problems or at least additional effort on the part of those casting. For example if I am casting something and see a (707) or (215) number, my first thought is that the actor is submitting from those regions. This is unattractive, in that I don't want to call them only to find out they can't make it out for my small-potatoes project--or worse, that they plan to fly out or make a major drive just for one two-minute audition. Talk about pressure.
Long-distance area codes also give the impression that actors are not here, not committed to their careers. It seems a little like they have one foot out the door--that either they aren't pursuing it full time, or they are keeping their old numbers so they can return to their old lives if this "acting thing" doesn't work out.
A little story. A friend of mine—we'll call her "Anne"--was casting a play in Los Angeles last summer and called in a guy--we'll call him "Tom"--with a New York area code. Because her play was AEA Guest Artist and not a big, well-paying tour that might be willing to fly in out-of-town talent, Anne assumed Tom was new to L.A. and just hadn't gotten a local number yet. When she called him, Tom clarified that, yes, he was living in New York, but he still wanted to audition. Anne strongly urged him not to, explaining that it was a small-budget show. She told him not to fly out just for the audition, but he assured her that he was coming out anyway and had submitted because he was looking for an excuse to move to L.A. Sounds reasonable, right?
So Anne auditioned Tom and ended up offering him a supporting role. Here's where the extra work comes in. Tom then informed Anne that he was assuming she would pay for his plane ticket back to L.A. to do the show, because he paid for the trip out to audition. He also told her he would be staying in Santa Monica but wouldn't have a car, and that he assumed another cast member would drive him to the Tarzana rehearsals. Suffice to say, Tom didn't end up coming out for the show. Not that his demands were that extensive; in a way they were perfectly reasonable. But they were expensive, time-consuming, and demonstrated a real lack of understanding of L.A.'s geography and traffic. Tom was demanding more effort from Anne than any other cast member was. Why would she struggle to accommodate his needs, given the immense local talent pool?
I am not saying all long-distance actors would make such demands. Of course not. And if Anne had really needed Tom for that role, she might have come up with the money and driven him to rehearsals. I am just pointing out that distance can create effort, and that's not what you want CDs to be thinking about when they look over your submission. Now, in your case, the (661) area (Palmdale/Santa Clarita) isn't that far from (818) (San Fernando Valley), but I have to admit that I had to look it up. When I glanced at the number--like a casting person would--I had no idea where you were from. I just knew you were from "out of town." When whittling down a stack of headshots, CDs are often looking for reasons to discount a submission, to narrow their options. Don't give them this one.
A couple of CDs I spoke to felt that area code was not an issue. One said, "It makes no difference to me. All that matters is if they can make it to the audition." Paulo Andres of Link Management, however, agreed that long distance was not the way to go. He had these points to make: "I would advise changing to a local area code for two reasons. 1. It looks like you are permanent and established, rather than temporary. Actors do not want to give the impression that they are temporary and therefore less committed than others. 2. Casting and agencies will still have to call from their offices and may have to pay for the-long-distance call, depending on their plan. Even though cell phone packages come with long-distance free, the offices have to pay for those long-distance calls. Don't ever put an obstacle, perceived or otherwise, in the way of your career, when there is a simple remedy to prevent it."
Lastly, area codes aside, it sounds like your pager isn't doing its job. The whole idea of being paged is that you will be reached immediately and not have to call in to get your messages. If you don't need that immediacy--and it sound like you don't--maybe it's time to try a different approach. You might want to switch altogether to a voice-mail service with a local area code, which would probably be cheaper than your pager. Better yet, get a new L.A. cell-phone number.
Dear Jackie:
Does anyone these days ever submit a postcard with an URL to his or her Web page instead of sending a headshot and resume? I'm so tempted to do this in some cases, like when I submit to student films. It saves so much money and time. What about for agent and casting director submissions?
D.H.
New York, NY
Dear D.H.:
My first thought upon reading your question was, "Sure. Why not save on postage?" Most CDs and student filmmakers are Internet savvy and, if they were struck by your picture, how much effort does it take for them to look up your Web page? Ah, but there's the catch. It's not a lot of effort, to be sure, but it is, after all, effort. Using this method would mean that you are requiring casting to do something that other actors are not asking of them. As I said above, don't give them a reason not to call you. Again, in the words of Paulo Andres, which I think bear repeating, "Don't ever put an obstacle, perceived or otherwise, in the way of your career, when there is a simple remedy to prevent it."
But what about people--such as student filmmakers--who are more hip to the Internet and less stuck in the status quo? Again the URL method seems to be underappreciated. Jessica Cuthbert, a UCSB graduate who recently cast a student film, said, "I never got any submissions like that for the film I worked on. I think I would have checked the URL, just because I would want to know that I looked at everyone possible for the role, but I definitely would not have preferred it. It's not like it's hard to go to the URL, but there is something about not sending your picture I don't like. In my opinion it would be better to send the headshot/resume, and if you have more pictures online you could include the URL as well."
Cuthbert's opinion seems to match those of more seasoned pros. Billy DaMota, CSA, said, "Including a URL is fine, but I doubt that many casting directors would bother to go to an actor's Web site just because the URL is given." It only makes sense. Why take the time to look someone up when there are so many others right in front of you? Additionally, there is something about the whole package--the crisp headshot and resume--that says, "professional." You want that edge.
This is not to say there is no place for postcards. Actors should absolutely use multiple marketing techniques to get noticed. A Web page can be a wonderful tool. A postcard can be a great way to advertise that Web page or promote upcoming work, as in, "Look for me on All My Children this Tuesday!" or "Please be my guest for my performance of Hamlet at the Lillian Theatre next month," etc. When targeting a CD or talent rep, you might try submitting the standard headshot package one month and a postcard the next. Marketing is all about being noticed and being remembered, which takes creativity and stick-to-it-iveness. Postcards are just one great way to remind CDs and talent reps that you are out there.