Dear Tombudsman:
After comparing notes with other actors, I have found quite a bit of confusion about resumé layouts.
First, I'm wondering about describing roles. I have always written out the name of the role for theatre jobs and the type of role (i.e.: lead, supporting, dayplayer, etc.) for film and television jobs. I have recently noticed resumés naming the role for all jobs. It certainly seems to be more interesting and informative to replace "lead," "supporting," and "featured" with "Dr. Davis," "Johnny," and "Woman in Dream." I am wondering whether one of these two methods is preferred.
Second, for those who continue to use role types on their resumés, would you elaborate on the definitions of "dayplayer," "featured," "co-star," "guest star," "principal," "supporting," etc.? Are the terms used for film different from those used for TV? After checking with many friends and cast mates, I find there are no commonly understood definitions for these terms.
And finally, what do you think of a resumé printed right on the back of a headshot? It seems like a sensible way of eliminating a few assembly steps and saving paper at the same time. It also solves the problem of resumés getting separated from the backs of headshots.
J.T.
Los Angeles, Calif.
Dear J.T.:
The summer is always a good time to re-evaluate your resumé and spruce it up for the fall television season. As I mentioned in a previous column, actors' resumés, while often quite similar in layout, are ultimately as unique as the performers they represent. The answer I'm about to give you is based on my own resumé format, which is a very common style, and also from having looked at hundreds of resumés over the years from working union actors (and a few non union thesps).
After discussions with theatrical agents I can tell you this much: If there's any consensus, it's that the thing should be typeset properly, look clean, and appear professional. The Casting Society of America has many members, there are hundreds of talent agents, and everyone has his or her own resumé style preference. Few will snarl at seeing a layout that isn't their favorite, unless, of course, you design something or use language that is completely confusing.
With that said, there is no uniform way to achieve that result, and the structure of resumés is based on few hard and fast rules. West Coast resumés definitely read differently from East Coast resumés in these two areas primarily: West-based actors who are more accustomed to working in film and television almost always lead off with these credits, while their East Coast brethren almost always list stage credits first. Add to that that New York talent often will list a character name for a film or TV credit much like they would for their stage roles. West Coast actors in the know almost never do that but work in one of the more familiar categorizations like "supporting," "co-star," "lead," etc. Save the character names for your theatre credits.
Now to those television descriptions: Pay attention here, it gets tricky. The term "dayplayer" is one used for a principal or speaking actor who is on a daily contract. A dayplayer could certainly work more than one day, and in rare cases it's possible he may not utter a word. That may be the hiring terminology, but you won't see the term "dayplayer" on many resumés. More likely it would be designated on the resumé as the agreed-upon credited role per the casting director's offer. As such, it would probably be listed as "co-star" or "guest star" in television. I say probably because, in general, guest stars work more than one day and aren't under dayplayer contracts. They could be but usually aren't.
Confused yet? That's not surprising, and that's why there are probably 600 different formats for resumés. Remember, we're just talking about the most common look—not the only look. The most common dayplayer on television would be a co-star role, although sometimes an actor will garner a guest-starring credit even though the role required a day or less of work. These actors are often better-established performers with solid credits, and the role would have to be fairly substantial. A pizza guy with two lines will not get a guest-star credit.
Don't forget that these labels cannot be handed out indiscriminately. The casting director is given a certain number of co-star and guest-star parts to cast, and, based on budget and billing agreements, they usually can't drift too far away from that.
So "co-star" roles are usually defined as the smaller of the principal parts under a SAG or AFTRA contract. A subcategory under an AFTRA contract—only for someone who speaks five lines or less—would be the "Under-5." "Recurring role" or the crème de la crème "lead" might be used if you are an every-week performer. I've seen a few "lead" listings on television shows, but I've seem more with a simpler designation—just the show and the production company. In other words, if the show is well known enough and the actor has played a substantial lead part, nothing else is needed. Once players become stars, they don't need a resumé.
Now that you know the basic resumé terms used for TV, you should also consider this: A "co-star" is a principal role, yet you probably wouldn't list the term "principal" on your resumé, although a few actors (particularly among newbies) use that designation. I think it makes everything else on the resumé look like background work. Now, you could list the character name should you choose to do so, and, as you mentioned, it might indeed look more interesting, but the vast majority of resumés you'll see from working actors don't employ that method.
In film, the term "supporting" is becoming the catchall for roles of almost any size except a lead role. "Supporting" shows you played an ensemble principal part. And "lead" or "starring" is much more commonly used here than under the "television" section of resumés. You wouldn't use guest star under film, as there is no such thing on a movie. Equate "supporting" with "guest star" and you'll hit the mark.
As we've mentioned in previous columns, be careful of that confusing "featured" credit, which I've often seen under film and television sections alike. Some casters consider it "extra" work; others look at it like it's a special-ability extra role. Still others think it means you spoke a line or two. I'd avoid it until the definition is better understood.
As for printing, I print my resumé directly onto the back of my headshot. It saves staples and time, and it looks cleaner. There's only one potential psychological pitfall I've considered: The resumé weighs less. Now, whether you buy into this theory, a heavier (in weight) resumé just feels a bit more, well, weighty. Silly perhaps, but when you're an actor you've got to consider the whole range of things.
Dear Tombudsman:
In May, I went to Los Angeles to meet with an agency and go on a photo shoot. It's almost three months later, and I still have not received my headshots or zed cards. I am in my 30s and for 15 years have been getting small modeling and acting parts here in New Orleans, and I know three months is too long.
As this agency is not SAG-franchised, what are the chances this is a legitimate company? Are there any non-franchised agencies that get casting notices? I have been calling and getting excuse after excuse, after paying $600 for the photo shoot/developing and $600 for printing the cards. I know this was too much, and as I went through the agency, they made money on me. Any advice for me?
M.
New Orleans, La.
Dear M.:
I don't know what kind of agency you went to upon arriving in Los Angeles, but one that charges you $1,200 for photos and reprints definitely doesn't have your best interests at heart. You didn't name the company, so I'll ask you to send them a copy of this response. Let them consider this a promise that if you don't receive the photos and cards in a few weeks, we'll investigate further. You've already been ripped off and that company made its money; at least it can follow through and give you the photographs. I hope they're in focus.
Yes, there are legitimate non-franchised agencies and there are some rip-off franchised agencies. The former operate ethically even if they aren't under the guidelines of a governing board. Some end up becoming franchised after proving their business skills; others choose to remain non-franchised while focusing primarily on non-union bookings.
I don't think you are dealing with one of the actual non-franchised agencies in the business of being agents. I believe the business you encountered makes its money selling overpriced headshot packages. If you don't get a resolution soon, aside from notifying us again, call either the City Attorney's Office (Consumer Protection Section) at (213) 485-4515 or the L.A. Department of Consumer Affairs at (213) 974-1452.
If you're going to work with a non-franchised agency, make sure you research the company thoroughly. If the next one asks you for even $12 upfront, head to the nearest exit.