BACK STAGE WEST
April 18, 2002
ActorFest offers actors a
day of information, shopping, and, yes, schmoozing.
by Rob Kendt
Los Angeles is
host to many trade shows and expositions, in which professionals from the
plumbing industry or the book trade or car dealerships gather over a weekend at
the L.A. Convention Center or a swank hotel to network, share wares, shop, and
generally stay in the loop with the latest developments and trends in their
line of work.
Where, you may
ask, is the trade show for L.A.'s most famously populous profession--the ranks
of which are continually replenished by newcomers from all over the country?
I'm talking, of course, about actors. To the tens of thousands of members of
the professional actors unions who reside in the Greater Los Angeles area, add
several tens of thousands more who are out pounding the pavement, honing their
craft, hoping for a break. It's no exaggeration to say that, in the sheer
number of people who either work as or consider themselves actors, L.A. is the
undisputed world capital.
So where's the
trade show worthy of this professional capital? ActorFest, now in its eighth
year, is the answer, and it comes directly from the offices and pages of Back
Stage West, the L.A.
actors trade paper. Scheduled for Saturday, May 11, 9 a.m.-4 p.m. at the Hilton
Universal City & Towers, this year's ActorFest promises our best lineup yet
of industry professionals, from seasoned actors to agents and casting
directors, as well as a bustling exhibit floor of the latest in actor services,
from headshot photographers to acting schools, from resource guides to mailing
labels. The one-stop shopping on the exhibit floor is free, while the price for
an all-day pass, which gives access to two seminars, is $40.
Since we started
ActorFest in 1995 at the cozy, nostalgic Hollywood Roosevelt Hotel, I've
thought of it as "living newspaper." Indeed each element of the show
is essentially a live, interactive version of our print product: As editor in
chief, I help to assemble seminars and panels that mirror the career-oriented
features we publish each week, with our industry sources and contacts right
there in person, discussing their business and taking questions directly from
attendees. Meanwhile Back Stage West's tireless advertising department assembles a bustling exhibit
floor of such actor-related services as headshot photographers, acting schools
and coaches, video demo editors, actors unions, and other resources, so that
actors can comparison shop and gather leads.
And, of course,
the attendees are our readers--except that ActorFest gives them the chance to
interact with our industry sources and advertisers, with our staff, and with
one another, to get all their questions answered and their voices heard.
The career
seminars I help put together are the live equivalent of big feature articles on
the kinds of topics we regularly cover in Back Stage West. As our cover stories are often in-depth
interviews with successful actors about their craft and business, so we offer a
keynote conversation with a well-known actor about the strategies and lessons
of his or her high-profile career path. Past keynote panelists have included
Robert Forster (who offered a memorable rendition of a "hambone" number)
and Dylan McDermott. This year we're sitting down to talk to Amy Brenneman, who
has a fascinating story: Her diverse and successful acting career began in the
mid-1980s, in a blue van with a bunch of her college pals, touring the U.S. as
Cornerstone Theater Company and staging plays in out-of-the-way rural
communities, and has since led her through a variety of television projects and
feature films to her current stint as executive producer and star of the hit
CBS series Judging Amy.
"I am
thrilled to be part of this event," Brenneman told Back Stage West recently. "One of the greatest
opportunities for all of us in the field is for meaningful collaboration and
community participation. I am anxious to share what I've learned and to learn
from others."
Another element
of Back Stage West
editorial--cutting-edge coverage of the latest industry trade trends as they
impact the livelihood of actors--is reflected in a seminar called "Perform
Inc.," a panel composed of agents and personal managers who will give an
up-to-the-minute account of the rapidly changing business of talent
representation. With the upcoming vote by members of the Screen Actors Guild
regarding changes to their longstanding franchise agreement with talent agents,
this will be a very timely discussion. And if anyone has his finger on the
pulse of industry trends, it's this panel's moderator, Robert J. Dowling,
editor in chief/publisher of The Hollywood Reporter. Dowling and his panel of agents and
managers (see listing in centerspread) will help spell out what these tectonic,
industry-wide shifts may mean for average rank-and-file actors, whether they
have representation or not.
Two other
seminars I'm putting together promise to provide especially lively and frank
talks. The first, "Building Character," will gather a distinguished
and successful troupe of "character actors"--a term with a loose
definition, and, in the film/TV industry, a sometimes dismissive connotation--on
how they've built thriving careers through hard work, perseverance, and sheer
talent. These include such seasoned actor's actors as Mindy Sterling (longtime
Groundling actor/director, best known as Frau Farbissina in the Austin
Powers films), R. Lee
Ermey (the hard-nosed drill sergeant in Full Metal Jacket, whose credits also include Dead Man
Walking and the upcoming Willard), and Patricia Belcher (best known as the
psychic in Jeepers Creepers).
The other panel,
"Advanced Stages," shines a spotlight on L.A.'s vibrant,
often-overlooked theatre scene, to which actors and artists who make their
living in film and TV return regularly to fuel their craft. How do they pull it
off? We'll find out from such busy actors as Kevin Weisman (the gadget nerd
Marshall on Alias,
about to open in the Buffalo Nights Theatre Company's J.B. at the Powerhouse Theatre), Julia
Campbell (best known for her starring role in the miniseries Rose Red and for her work at the Matrix and Cast
theatres), Andrew Robinson (a busy TV actor who directs at the Matrix as well
as at local regional theatres), Juanita Jennings (another busy TV actor with
extensive regional theatre credits), and two of L.A.'s preeminent theatre
artistic director/producers, Gil Cates of the Geffen Playhouse (a longtime
producer of the Oscar show) and Sheldon Epps of the Pasadena Playhouse (who
also moonlights as a TV director).
Of course, the
main reason actors read Back Stage West and visit our popular website, BackStage.com, is for the
extensive weekly and daily casting information. A related weekly attraction is
Bonnie Gillespie's popular Casting Qs column, in which she interviews casting
directors about their approach to their work, what they look for in actors, and
their specific practical advice for actors who want to get in the door.
So it's no
surprise that among ActorFest's most popular features are our 28 "Focus
Sessions," in which top casting directors from feature films, episodic and
daytime television, and commercials offer 50-minute informational Q&A
sessions with relatively small groups of actors. For most actors, there's just
no substitute for hearing directly from casting directors exactly how they do
their job of finding the best actor for the part--and how to improve their
chances of being that actor.
Finally, for we
who toil at our desks to get the best information out to our readers, and
usually don't expect a response unless there's an error, ActorFest is a day to
come face to face with the people we serve. And that day of direct interaction,
in a business that's all about networking and human contact, is invaluable and
gratifying--not to mention just plain fun. After all, we put "fest"
in the name for a reason.