2.  They think they already know how to shoot – if you think because you are a professional photographer and all you need to do is get a camera with a “video mode” on it, you are mistaken. Shooting in motion is far different than shooting still images. An experienced motion shooter can spot a video shot by a still photographer with little know how, right away.

3.  Thinking audio isn’t important – audio is more important than the visual when producing video.  Hire a sound person to do it right, but don’t discount it.

4.  Thinking the DSLR camera is all you need for video productions – this is a biggie.  How are you going to go after professional video jobs if this is the only tool in your kit?  Sure you can rent a RED – but make sure you are as proficient with this tool as your competition is before hanging out your “motion” shingle.

5.  Positioning themselves just as DP’s or Directors and thinking you’ll maintain ownership of your work. If you assume the role of a camera operator, DP or even a director – you will be in a work for hire position in most markets.  Position yourself as a producer – shoot if you want to – and direct – but realize that you’ll be just one rung on the “content ladder”.

6.  They don’t learn interview skills – this is what separates the pros from the still shooters who have DSLR cameras and think that’s all they need.  I’d say about  70% of my work includes on camera interviews.  Even though I ask the questions- I’m not on camera, my subject is.   I not only need to know how to ask the right questions and get great audio, but I need to produce a usable interview clip for an editor. That means knowing how to get great soundbites. This is one area I excel in – it’s all about rapport with your subject.

7.  They try to compete in “old business model” markets – Everyone wants to shoot broadcast spots and feature films (or short films) so they think that after shooting motion for only a few months – or even a year – they will be able to compete in the high end business of video production.  First, this market, like the still photography market,  has changed drastically, mostly marginalized by still photographers who are just starting to shoot motion,  shooting jobs for next to nothing because they have no understanding of this “business”.

8.  Learning the “how to’s” in terms of gear – but nothing about the business – this is also a biggie.  There are so many “how to shoot motion” workshops and roadshows out there but no one seems to be teaching the business end of things.  Still photographers think they already know “the business” but quickly realize that they don’t, and they put themselves out of business in this medium – before they’ve barely started.

9.  Teaching “how to” workshops in video with little or no experience – I can’t tell you how many photographers have called me for technical advice about some pretty basic stuff in terms of video,  and four months later they are teaching workshops. Please don’t become part of the problem and send more shooters out into this field without teaching them something about business. And if you are considering taking a workshop – do your homework and take the workshop from someone who is accomplished in this field and has done something.

10. They forget about the story – I know that’s #1 but it needs reinforcing.

Compact Prime CP.2 Lens Set

The Compact Prime CP.2′s are fantastic full frame cinema lenses.  Designed for film making the CP.2 lenses are perfect for high quality cinematic results.  These lenses will give you a more professional, high-end look on a DSLR. Basically they are the best choice of lens available on the market right now and we recommend that you go for the CP.2′s over any other lens for a cinematic feel.

The Zeiss glass is impressive quality, producing sharp, snappy, and contrasty images.  They are robust, have a longer focus rotation and allow you to focus with precision and speed with manual focusing. Our lenses are PL mount only and can be used with our Canon 7D, 5D Mark II’s and the new C300.

Zeiss Compact Prime Lens Set available for hire:

• 21mm, 25mm, 28mm, 35mm, 50mm and 85mm – £230

• Full-frame coverage (24 x 36mm ) for focal lengths 21 to 100 mm, including a 50 mm macro lens
• Common aperture of T2.1 for the standard lens set
• High stability due to support bracket, which is included for additional lens stability
• Sweet spot effect with APS-C sensors

Zeiss MF Lenses

The lenses can be used for both photography and filmmaking. Capable of capturing extremely sharp images along with a smooth focus transition, the ZE lens series is a versatile, crisp alternative to standard DSLR lenses.  Again can be used with our Canon 7D, 5D Mark II’s and the new C300.  The MF lenses are perfect for enthusiasts and professional videographers and still photographers.

Zeiss MF Lenses for Canon EF Mount available for hire:

Zeiss ZE Lens Set:

• 21mm, 25mm, 28mm, 35mm, 50mm, 85mm and 100mm – £130

Features include:

• Canon EF-Mount
• Zeiss T Anti-Reflective Coating
• Tough IP67 Waterproof Case

Please refer to our Digital Equipment pricelist for more information on hire prices for our Zeiss Lens range.

Although perception of the internet gives the user a certain degree of openness and the right to free information, the internet evolution and its progress has been built upon by corporations that rely on advertising dollars to keep them “afloat”. From the very start of newspapers along with others have had part of their company structure and growth to thank from advertising revenues. Advertisers can now see that newspapers can have big visitor numbers towards their websites just as in the decades before the internet they had true subscribers. This helps the newspapers survive by transitioning their advertising revenues that were typically made from the newspaper classifieds, marketing and the such to transition into the new media format and keep people reading. People still feel conformable on relying these newspapers for bringing them news because they are established entities that have been around from generation to generation so there is a certain degree in which newspapers can count on in regards to customer loyalty and readership for generations to come. I, personally would rather read the news about an event from The Los Angeles Times then some Joe blows blog in the middle of the internet ocean (like me) . Although perception has it that newspapers are bias, intelligent people can count on the fact that reliable newspapers either on the internet or in print will more than likely not have any propaganda attached to their editorials. So part of it is the easy transition from print to digital as far as sales and bringing in revenues and from trust that people still have in newspapers.

The uses-gratification approach is most of the time based upon a four-category human need system that is part into a cognition, diversion, social utility and withdrawal account when the evaluation of an individual approach is carried out.  The first category is the act of the person to simply start knowing something and clearly identify parallels to that knowing or for their own using such as updating on political events that will influence their lives or understanding what is going on and or simple just want to learn and satisfy their human curiosity. Second, diversion which can take on a diversity of forms for an individual such as stimulation activities to that contrast of everyday life or just for relaxation. It could also be an emotional release function which is more complex such as watching a dramatic movie that the person can relate to his or her own life experiences.  Social utility is basically tools or currency communication to initiation an addressing of a certain subject or even. Such as when a person asks you “Did you see that blockbuster movie last opening weekend?” In most cases the initial message is secondary to that of the importance of actual social gathering. The last of the categories is withdrawal which can be a mass media to create a barrier or excuse between other people or activities. Television, radio a book can be used to draw a line between wanted and unwanted communication such as not disturbing someone while watching a favorites show versus someone commenting on a show and the other person agreeing but not continuing the conversation.

Take for example “chick flixs” or love stories, even though they are the same kind of story over and over again most of the time, the demographics are known to attend because of what’s playing in front of your screen and who is next to you eating popcorn…

This basically gives a category to try to simplify some of the drive in which someone might go and see your movie or rent it. That is of course once you have it distributed!

The “functional” approach bases its data on audience observation and experiences of these individuals such as a questionnaire while critical/cultural research uses a more of broad mass communicative study of culture within the audience. Both approaches may or may not come to the same conclusion based on the communication that is trying to be delivered because the major critical/cultural differences may have an impact on the outcome. The diversity in society and the account of examination of different concepts, ideology, politics and social structure vary greatly when taken on macrolytically and much of the research is aimed at describing these depictions within the society. Many views can be drawn when using a critical/cultural approach such as a something produced with certain characteristics such as a Mexican or a Black man playing a criminal in the entertainment industry, the entertainment industry from data gathered sees this in a functional approach by data gathered from society versus how the audience might see it as insulting and degrading society. Both approaches from either side have viable application in understanding how mass communication effects audience and the society.

You see, it’s not really the filmmakers fault that they CHOOSE to make a mexican, latino actor into a criminal, the research department are the ones that TELL us who the majority and minorities are in a perfect and unperfect world.

NEW YORK (AP) — Republican vice presidential candidate Sarah Palin, who has not held a press conference in nearly four weeks of campaigning, initially barred reporters from her first meetings with world leaders Tuesday, but reversed course after they protested.

At first, campaign aides told the TV producer, print and news agency reporters in the press pool that followed the Alaska governor that they would not be admitted along with still photographers and a video camera crew taken in to photograph her meetings with Afghan President Hamid Karzai and Colombian President Alvaro Uribe, who are here for the United Nations General Assembly this week. She also was to meet later with former Secretary of State Henry Kissinger.

These sessions and meetings scheduled for Wednesday are part of the Republican campaign’s effort to give Palin experience in foreign affairs. She has never met a foreign head of state and first traveled outside North America just last year.

At least two news organizations, including The Associated Press, objected to the exclusion of reporters and were told that the decision was not subject to discussion. Presidents and members of Congress routinely allow reporters to attend photo opportunities along with photographers and the reporters sometimes are able to ask questions during the brief photo sessions, usually held at the beginning of private meetings.

CNN, which was providing the television coverage for news organizations, decided to pull its TV crew from the first meeting, with Karzai, effectively denying Palin the high visibility she had sought. But after the campaign agreed to let CNN’s producer in as well, the CNN camera crew joined the session.

According to the CNN producer who was let into Karzai’s hotel suite with the photographers just before noon, Karzai was talking about his son. Palin was nodding, and asked what his name is. Karzai replied his name was Mirwais and explained that it means light of the house.

The media were escorted out after about 40 seconds.

Campaign aides subsequently announced that reporters would be allowed to accompany photographers into the later sessions with Uribe and Kissinger.

At that point, campaign spokeswoman Tracey Schmitt said it was all just a “miscommunication.” Earlier, she had said, “The decision was made for this to be a photo spray with still cameras and video cameras only.”

Palin has been criticized for avoiding taking questions from reporters or submitting to one-on-one interviews. She has had just two major interviews since Republican presidential candidate John McCain chose her as his running mate on Aug. 29.

On Wednesday, McCain and Palin were expected to meet jointly with Georgian President Mikhail Saakashvili and Ukrainian President Viktor Yuschenko. Palin was then to meet separately with Iraqi President Jalal Talabani, Pakistani President Asif Ali Zardari and Indian Prime Minister Manmohan Singh.

– Omar Chavez
Hollywood, Calif.

“Yes. We’ve gone from janitor to head janitor. Now and then, you can also see more Latinos on television playing characters who aren’t being arrested on Cops.”

– Peter DiCarlo
Los Angeles; Toronto

“I’ve noticed that if [producers] are going to cast minorities, they still tend to go black or Asian. And I think if you consider the numbers, we’re the biggest minority right now and continue to grow. Yet in roles, we’re still underrepresented. So yeah, there’s been some improvement, but compared to what our population is in the U.S., I don’t think it’s there yet.”

– Noemi Soulet
Cortlandt Manor, N.Y.

“I’ve seen progress, but not so much in the direction that I would like to see. One thing that I noticed is there are no real superheroes out there who are Latino. There are African-American, Caucasian, and even Asian [superheroes]. That’s one thing that I see that’s needed in the industry: more action-adventure, hero-type roles represented by the Latino actors in the industry. Nobody’s going to change the Latino entertainment industry if it’s not Latinos. Latinos have to come together and join forces and make a single voice in the entertainment industry to demand equal and bigger spotlight opportunities.”

– Joey Fiero
Beverly Hills, Calif.

http://www.LifeAsAStrugglingActor.com

http://www.FieroEntertainment.com

http://www.CastingJoseph.com

josephfiero@gmail.com

Latino Actor Joey Fiero

Actor Joey Fiero

How to survive in a film acting career and not to be a “struggling actor”.

Joseph Fiero Playing Piano First and foremost, before you read this article read my other article “How to become an actor and make a living from acting” then come back to this one. Look up guides as how to go about becoming an actor if you are not one. If you are one start off by reading everything you can about the entertainment industry from directing,writing,producing,distribution to the music side of things. Know what is happening today and who is that artist. Learn from experienced people who have made it. Take entertainment business/law classes as well.

Step2

Joseph Fiero’s Friend GINA doing a fund raiser on TV as a host. Submit yourself to casting calls from all over the internet or local newspaper including game shows. This would include commercials, print work and independent films. Don’t wait for someone to call you, follow the casting calls. Google Keywords “Casting Calls” and try to find some in your home town or ones that do “virtual audition”. Submit to everything even if it doesn’t sound like you but you think they could “keep you on file”. Ignore people saying that it will just annoy casting places. Casting sole purpose is to constantly “discover” people.

Step3

Joseph Fiero on the Mcdonalds Bags and Cups around the world. While you are waiting for the auditions and for your face to be plastered all over the world, pick up a camera with a friends help, start making films about yourself and stories about your life and build a video demo reel and make it look like you have been in such and such type films. Horror, comedy, action and drama. Step 1 comes in handy when you have read about “filmmaking”. Start showcasing you and your work all over the place.

Step4

Joseph Fiero and Camera Crew. If someone wants to hire you for FREE, then be polite and tell them to at least pay you for the GAS and food and a little extra for the road. AFTER they really, really want you and your basically at the negotiation table. REFUSE to work for free. Sometimes when big corporations throw a campaign and they won’t pay the people featured but the exposure can help your image market abilities and sometimes they offer gifts so give in to the big guys to work for free because most of the time they give you something. Examples: CAR MAKERS, PRODUCT MAKERS, FAST FOOD CHAINS, NETWORK CONTESTS.

Step5

Micheal Madsen and Joseph Fiero Keep in contact with EVERYONE you ever meet that is in the entertainment industry and invite them to parties, events and to the local bar at times. If you feel that some of these people are using you or playing Hollywood games, kindly tell them you see threw them and walk away from the so called “friendship”. Remember, most of the time when you meet people in the industry and they ask you “what do you do” they are really saying “what can you do for me”. The point is FIND REAL FRIENDS that share a mutual interest in becoming rich and famous if thats your thing.

Step6

Joseph Fiero Signing Autographs Discover what the meaning of “struggling” means to you. For most it means not being on TV, Magazines and made into toy action figures, others it means not being casted in your local city theater. Remember its all about business and you yourself are a business. So what is your business model? If you want to become a famous or somewhat famous actor, skip to step 8.

Step7

Joseph Fiero on E! news After all this, don’t sound desperate if you haven’t seen anything happen because this only means your not doing one of the steps right. Instead focus on more publicity on yourself if you’ve already tried the above steps with no result. Most of the above steps really mean that you have no talent to do anything so you must focus on making yourself known and image liked by publicity either paid or free. Learn about publicity and how it works from this point.

Step8

Joseph Fiero, Co-Founder of GBTVOnline Find another career that makes you a lot of money, possibly investments, real estate or the lottery. Then pay a somewhat famous or once was famous actor to star in a movie that you wrote and find a distributor to put it into Walmart or Blockbuster OR pitch a TV show with someone famous in it and negotiate for you to be a co-star or at least reoccurring role.

Step9

A poster of Joseph Fiero Never settle for the scraps of a movie or one liners if you are with one of the top agencies if you have established yourself, talk to your agent and tell them to get you in on a bigger “package deal”. Never feel that you don’t deserve or can’t do that role. If you don’t know something but you said you did, go learn it before you shoot. So go get them tiger and see you around town! Read my other articles on acting too.

FieroEntertainment.com

CastingJoseph.com

FieroCasting.com

LifeAsAStrugglingActor.com

FieroPhotography.info

FieroDesigns

Joey Fiero is a Independent Producer and Filmmaker and a producer for Creative Entertainment Media Inc. (www.CreativeEntertainmentMedia.com) partially responsible for television/film development, acquisitions and business introductions. He Co-Founded GBTVOnline.com a online music network that showcases nothing but the hottest A-List celebrity artists along with fellow actor and producer Stacy Hall.

Mr. Fiero brings more then a decade of experience from within the entertainment industry that expands from the arts trenches to business product development. A graduate of Broadcasting in television combined with his years of experience as early as in his teens, Mr. Fiero prides himself on building long-term, personal relationships in business which he credits as the secret to his success. Joey Fiero formed Fiero Entertainment Inc. In 2006 and is expanding in all areas of the Entertainment Industry from Production and Development to Casting.

In addition to continuing on his career way, Mr. Fiero devotes part of his time to a non-profit foundation; Global Alliance for the Arts & Humanities Inc. This non-profit is designed to give others the training, experience and access of opportunity to pursue “key decision making” careers in the television and film industry.
Business Inquires: JosephFiero@gmail.com

http://lifeasastrugglingactor.com/

Starring Cast: Joey Fiero Actor, Producer, Director, Daddy. Jacquie Fiero Manager, Producer, Writer, Mommy. Joey Fiero Jr. Actor, Director, Comedian, Trouble Maker. Aly Fiero Actor, Model, Trouble Maker, Princess. More Episodes and Representation: The Fiero’s on Youtube Life as a Struggling Actor on Youtube. Watch some of the first episodes that Joey filmed of his life as an actor with kids. Represtation TV/FILM Nancy Chaidez and Associates310.467.8954 Production Company C.E.M. Inc. P.O. Box 12801 Marina del Rey, CA 90295 Phone: 310.902.2326 323.533.6206 Fax: 310.822.4068 Executive Producers: Susan Flanagan, Bidwell Tyler, Joey Fiero Joey Fiero says he is a worldwide unknown star! His face and name has really been seen around the world on street curbs and sitting on trash cans. His mission is to become a high profile actor and producer inspiring the world with his movies. His wife Jacquie would like get into the marketing and advertising side of the industry. Their kids want nothing but to be actors and on TV kids shows. Follow this goofy fun family’s and friends day to day lives and just see how many Hollywood adventures they get themselves into! SHOW YOUR SUPPORT! Check out our new online store! Every purchase helps The Fieros! Joey Fiero and his son Joey Jr. take us to a commercial audition for Wal-Mart. Joey Jr. takes over the camera for daddy! Joey takes us on a Latino Actor Fest where he meets new friends and other aspiring actors!

LifeAsAStrugglingActor.Com • CastingJoseph.com • FieroCasting.com © 2008 • WGA Registered

Bargaining toward a new deal between the union and the producers’ group began on April 15. The actors’ current contract expires on June 30.

The American Federation of Television and Radio Artists, another actors’ union, said separately that it had agreed at the producers’ request to delay the beginning of its own contract negotiations until May 5.

The federation, whose contract also expires at the end of June, had expected to begin talks next Monday.

Singing on commercials is among the most musically challenging, stylistically varied, and outright fun things a singer can do. Plus, you could have your work heard by millions of people. It’s also a very specialized, competitive business that requires skills beyond those of the average singer. Luckily, in certain situations your personality, uniqueness, and vocal acting ability can shine through and get you the job.

The road to gigs is rarely fast or easy, but there are certain steps a singer should take along the way. Musician referral services, the trade papers, even Craigslist can yield initial small jobs, but to land high-profile work, a singer must come to the attention of a vocal contractor: the person enlisted by a producer or ad agency to hire singers for a recording session. He or she keeps an extensive list of singers and knows what skills each one possesses. So how do you get on the list?

Getting Noticed

Before you start sending out demos, make sure your skills are top-notch. Gerald White, an experienced session singer with a wide range of commercial credits, including Mercedes-Benz and Intel, says he received his best advice from Quincy Jones, who told him, “Your job, until you get the job you want, is to work at your craft every day.” As a result, says White, “I practice every day. I have to.” He points out that it’s not enough to acquire top skills; you also have to be ready to display them at a moment’s notice. “For my biggest gig, they called me 90 minutes before and asked if I could get to the studio right away,” he recalls. “There’s no time for excuses like your voice not being warmed up.”

Once you have the skills, you must create a demo CD, which is your vocal calling card. A demo should be to the point and show a variety of styles. Sally Stevens, who has been a top vocal contractor in Los Angeles for more than 20 years, says the demo should be as short and tight as possible. “Don’t put whole songs on there, but rather 10 to 20 seconds of each style, for about two minutes total,” she says. “Singers should also include anything that’s been broadcast, even small regional jobs. Anything that sounds professional is a plus.”

A successful demo helps the vocal contractor, as well as the singer. “If I get a call for a solo vocalist,” says Stevens, “I will often contact the singer and ask them if they have something in a specific style. They send me an MP3, and I can forward those on to the producer or the music department.”

Sight-Reading Music

The ability to sight-read music can open up more jobs for a singer. “If you want to be able to cross over into all areas of work, you need to develop your sight-reading skills,” says Stevens. And how do you do that? “Put yourself in a church choir or small jazz group where you have sheet music in front of you,” she suggests. “You need to sharpen your skills every day if you want to make this your life’s work.”

Many commercial jobs requires that the singer be able to sight-read. According to White, this is so the production company can get you in and out in 20 minutes and not have to teach you the part. “If it’s a reading session, you’ll get one run-through with the music, and they start recording on the second take,” he says. There are singers who don’t sight-read yet manage to get work, says White, but “these singers have extremely fast ears. They can hear it once and nail it the next time.”

Know Your Styles

For jobs that involve solo singing, the ability to impersonate someone or parody a style can get you work even if you don’t sight-read. In these situations, contractors and producers are often more willing to take a chance on a new singer if he or she has the sound they’re looking for. For example, says Stevens, “There used to be what was called a ‘beer voice,’ with a real gravelly sound.” She keeps lists of singers adept at different styles.

Vocalist Ted Heath has done a number of sessions in which he was called upon to impersonate an artist, from Elton John to Sonny Bono. “I’m acting with my singing voice,” he says. “I mentally get into the artist and really have to think about how they would approach this, phrase this. Even in a studio performance, I try and physically get into the singer. It’s definitely acting.”

The ability to create new characters and voices can put a singer in demand and bring interesting and challenging jobs. Heath once had to come up with singing voices for a whole line of toys, with only a picture to guide him: “I worked with the producer to create a character and voice for each of them. Next thing I know, I’m in a store, staring in amazement at a whole wall of these toys with my voice coming out of them.”

Group singing is more specialized and can require different skills. “This type of session work expects you to blend well, read well, harmonize quickly, and work together as a group,” says White, who does a lot of ensemble work. In a group situation, a voice contractor can’t as readily take a chance on a new singer, because other singers and often a large number of musicians will be working at the session. “For film-score choral music, I look for technical skill, quick sight-reading, excellent pitch, and the ability to blend,” says Stevens, “A solo voice who can’t let go of their ego is not one I like to have in a choir.”

Don’t Forget to Network

At some point, the aspiring commercial singer will need to start meeting other singers, as recommendations are one of the best ways to get work. There are communities of singers in Los Angeles and New York, and they often hold events to bring in new talent. For White, meeting other singers was the key to his success: “During the eight years I was trying to break in, I sent out over 1,000 packages and maybe got 10 responses back. I realized I had to go out and meet other singers. My first job ended up being from a recommendation.”

Stevens uses these meetings as a way to find new talent: “The AFTRA and SAG singers are a very active community, and there’s a lot of networking and sharing. We contractors help each other out, and that helps the singers out. In L.A., AFTRA sponsors a sight-singing class, which is not only a great place to sharpen your skills but to network. A couple of the singers that I’m so happy to know about and use often came from that process.”

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JOEY FIERO

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Have you ever dreamed of one day becoming a famous Hollywood actor? If so, the first thing you need to realize is that this dream can become a reality if you’re willing to put in the time, training, dedication, passion and patience required to make it in Hollywood.

If you’ve always wondered how to become a film or television actor, then here are ten steps that may not get you the role of a lifetime, but they will help you to treat your acting career as a career and not simply as something you choose to do for fun.

Keep in mind that if you’re hoping to become a theater actor, some of these may not apply to you. However, all ten steps are good to keep in mind no matter what type of acting you decide to pursue.

Step 1: Learn How to Act

Seems like a given, doesn’t it? But I can’t tell you the number of people that come out to Hollywood thinking that all they need to do is get a job as a waiter at some popular restaurant, meet an agent, get “discovered” and then it’s nothing but champagne and caviar from there. Uh…no.

Acting is first and foremost a craft. The best of the Hollywood actors understand this and no matter how far they have come in their careers, they are constantly looking to improve upon their craft. They take classes, work with acting and dialogue coaches, they study life experiences, etc. They know full well that even after a lifetime of work and study, they may never reach absolute perfection.

So, for you, it’s imperative that you take a wide variety of acting classes. Work in a wide variety of styles with a as many different groups of people that you can find. Try it all. From Shakespeare to comedy, from improv to cinema verite — the more you know, the more well rounded you’ll be and ultimately, the better prepared you’ll be for whatever roles come your way.

Step 2: Location, Location, Location

I hate telling people this, but if you hope to work in film and/or television as an actor, you need to go where the work is. Now, that doesn’t necessarily doom you to living in Los Angeles or New York. After all, there are plenty of acting jobs in Vancouver, Montreal, Chicago, Miami, Baltimore, etc.

But, New York and Los Angeles are where most of the casting directors work and live. So, many of the shows that are shot in Canada or other cities within the U.S. are still cast in LA or New York. So, even though you don’t necessarily need to move here, keep in mind that it is where most of the action is.

Step 3: Be Willing to do What it Takes

No, that doesn’t mean what you think it means. Don’t worry about the “casting couch.” But you must be willing to do what it takes for the sake of your craft. You might ultimately have to sacrifice certain aspects of your life to ensure that you will have success as a working Hollywood actor.

You must take the time to master your craft. If that means sacrificing a relationship or a few friendships along the way, so be it. I know that sounds rather harsh, but acting is not a 9-5 job by any stretch.

If you’re lucky enough to land a role in a major film or television production, realize that this is not the glamorous Hollywood job you might’ve thought it would be.

It’s a lot of work, often 14-20 hours per day, in all kinds of conditions and at least initially, for not much money.

Even actors who make millions of dollars per picture still must “work” to earn their keep. They are on location for months at a time and every day they commit themselves both emotionally and physically to their roles. It can be extremely exhausting. You must prepare yourself both mentally and physically for this type of challenge.

It’s one of the many reasons why Hollywood stars have trainers, psychologists, plastic surgeons, nutritionists and divorce attorneys at their beck and call. Their job is hardly an easy job.

Step 4: Commit Yourself

I once had a friend of mine tell me that there are no bad actors, just actors who aren’t willing to “fully commit” themselves to their craft.

Just as I mentioned above that you have to make certain sacrifices to make it as an actor in Hollywood, one of those is your ego. If you’re about looking cool, or trying to maintain a certain image, then acting might not be for you.

The best actors are those who are willing to let themselves be 100% consumed by the role they are playing. They physically become the person they portray.

If you’re in the middle of delivering your lines and suddenly you let yourself drift back into your own life, you are not fully committed to the role and your performance will show it. You have to literally “forget yourself” to help ensure the quality of your performance.

Step 5: Be Nice

Hollywood is all about helping those you know because they might one day be in a position to help you as well. So, you need to remember this steadfast rule — be nice to everyone. From agents’ assistants to fellow cast members to whomever you meet in Hollywood. Remember, that assistant you treated poorly two years ago might one day become a casting director, film producer, talent agent or whatever. And trust me, they’ll remember those who stomped on their toes on their way up the ladder.

Conversely, they’ll remember those who were nice the whole way up and they’ll be that much more inclined to help them achieve their own goals.

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