Networking: Actor, Agents & Casting Director Meet-and-Greets

A few weeks ago, Christopher Stadulis wrote a post about why actors need be meeting agents and casting directors at network houses, commonly called "meet-and-greets."

I thought it was a great example about why actors should be doing this, but then it led the question about how does actor go about doing "meet-and-greets?" What's a good strategy or plan? I asked Christopher the follow questions based on his experience as an actor who is just starting to break into the business at a professional level:

How much $$ can one expect to pay for meet and greets? (This is an important question because it has to do with ROI, something all actors with professional ambitions should be doing (because producers calculate ROI) -- even though when you're just starting out, it can be painful calculation because numerator is probably low if not zero. Yet tracking costs is a great habit to get into -- and an essential habit if you are or want to be a professional actor. In fact, a simple way to do this with mailings and meet-and-greet is to use this Marketing ROI Calculator. For meet-and-greets, just enter the number of meetings you've been having instead of the number of pieces of mailings you've been doing). So, the question again: How much $$ can one expect to pay for meet and greets?

It all depends on a persons budget, but I would recommend to do a package deal since you will see a good amount of industry professionals and will save money by going that route.[At Breakthrough Studios] it usually costs $32 per meet with a CD, Agent or Manager of your choice. I recently signed up for the $599 special at Breakthrough Studios, which I love, to meet with as many industry professionals as I can within 1 month. I met with 35 total. A combination of CD's, Agents and Managers. If I were to see each other and pay individually, it would have cost me $2,000. So I saved $1,400 which is huge! (Christopher Stadulis).

(An aside: I've been using The Actor's Alliance Studios in New York, which is a little less than Breakthrough Studios, but you can only attend The Actor's Alliance Studios by first auditioning. Both places often specific workshops, intensives, and classes, which I also recommend because the goal of these classes is to make you more successful when meeting industry professionals).

How does one choose how often to meet industry pros and how does one choose who to meet? (This is an important question because to answer it you should know, as best you can, your 1) type, 2) your strengths and interests, and 3) the relative opportunities with the specific areas of the industry, i.e., there may be more casting opportunities in the summers for commercials rather than the episodics -- that's just a guess, but you get the idea).

I look at the monthly calendar, which can be viewed on their web site, and I see who will be attending for that month. I then choose to see industry pros based on if I had recently seen them already (within 1 yr) or what types of projects they mostly cast for or are currently casting. (Christopher Stadulis).

How many monologues should one have prepared for meet and greets, and how to pick which monologues to use? (This question too gets at the whole issue of one's type. The more closely aligned your monologue is with your "type," the more successful you'll be. Also -- you should have a great coach and mentor in your corner to help you not only polish your monologues but to help you choose them. If you're looking a terrific acting and audition coach, I recommend Deborah Carlson who's approach is based on the work of Patsy Rodenburg. Also, if need expert help looking for a monologue for your type, check out Prudence Holmes -- she has a collection of over 5000 rarely-done monologues).

I picked monologues that are very much like my own personality/type. If an actor picks something that is his/her type, it will be very organic. Also, picking something that you can relate to is a big plus. It also helps you to connect. I have 2 monologues. One Dramatic and one comedy. I always go with the dramatic because that is more towards my type. If they ask for the comedic, then I give it to them. (Christopher Stadulis).

Does one get feedback from meet and greets and how helpful is it?

Yes. Everyone gets feedback. But you have to take everything with a grain of salt. Not everything a person says is true. It's all about their perception of you and where they see you in this industry. But I have received honest feedback and that's what you want. Not feedback just because you are paying them. (Christopher Stadulis).

What about cold readings -- how does one prepare for those?

For cold readings there is usually not much prep time. Sometimes a CD will ask you to look over a scene for 10-15 mins and then you will do it. Other times, you may go in to audition for a role and after you finish your scene, you may be asked to read for another role right there on the spot.

What I do is make a strong choice in my opening line. If I don't get the CD's attention at the very beginning of my scene, there's a very good chance I will lose him/her. (This is actually terrific advice -- it's always harder to get someone's attention than it is to keep their attention, so -- be sure to have a "moment before" any monologue and your first line if you're starting a scene).

Remember, they do not expect you to memorize lines for a cold read. Focus on telling the story and bringing yourself to the character. I used to get caught up in trying to memorize and would also try to figure out what they are looking for. That's a big NO-NO! When you try to give them what you think they are looking for, it comes across as bad acting. And that's exactly what it is, ACTING. You don't want to act, you simply want to be DOING and speaking TRUTH. (Christopher Stadulis).

I finally asked Christopher what had he learned from the work he's booked and what he has learned about how to handle himself on a professional set.

I learned that this is a business and where I see myself best in this industry. And the jobs that I have booked were for roles where I walk in the door, I already am that character. They call it typecast, I call it putting your dues in. An actor usually doesn't get an opportunity to take on other roles that will stretch themselves until they have clout in the BIG leagues. Until then, take what comes your way and ride that wave.

I would love to get roles that Philip Seymour Hoffman or Daniel Day Lewis play but that is not being realistic. They are not my type. You have to ask yourself, if you were to audition for roles in the BIG leagues, what types of roles could you be cast for. Not what roles you'd like to be cast for. You have to be realistic and logical in this business. And understanding where you fit in best will help your career dramatically.

On a professional set, always be professional, polite to EVERYONE, friendly and listen. Listen more than speak. Try to learn as much as you can. Even when I'm not in a scene, I observe and pick up as much as I can. An actor should learn the technical side as well. (Christopher Stadulis).