When formatting an acting resume, there are some important rules to follow. In the acting business, you may hear many different things from different people over the years because different casting directors and agents have different preferences. Still, we assure you, this is the typical standard practice.
TOP OF RESUME:
On either corner at the top of your resume, should be the logo of your agency. Under their logo should be your agent's name, email, and phone number.
In the other corner, should be your name in bold and slightly larger font (font should be standard like Times New Roman, Arial, Garamond, or Georgia. Your email should go under your name. (Not your phone number or address... Union status only goes under your name if you are in the union, no need to put "non-union" or SAG-E on your resume.)
FORMATTING:
The order in which you must build your resume is as follows (Pay attention to detail, capitalization, and grammar):
------------------------------------------------------------------------------------------------------------------------------------------
AGENCY YOUR NAME
AGENT'S NAME SAG (OR NOTHING)
AGENT'S PHONE YOUR EMAIL
AGENTS EMAIL (YOU MAY PUT A WEBSITE IF YOU WANT)
YOU MAY PUT HEIGHT-EYE-HAIR COLOR
FILM
MOVIE I WAS IN Lead Dir: John Doe
MOVIE I WAS IN Supporting Dir: John Doe
TELEVISION OR TV
TV SHOW I WAS IN Series Regular NETFLIX
TV SHOW I WAS IN Recurring ABC
TV SHOW I WAS IN Guest Star AMAZON PRIME
TV SHOW I WAS IN Co Star XYZ PRODUCTIONS
THEATER
NAME OF THE SHOW Character Name Theatre
NAME OF THE SHOW Character Name Theatre
NAME OF THE SHOW Character Name Theatre
COMMERCIALS CONFLICT AVAILABLE UPON REQUEST (If you have commercial bookings you may put this. Do not list commercial bookings on your paper resume.)
TRAINING
THE LESSON Acting Coach School (Adding Location Initials is fine)
THE LESSON Acting Coach School (Adding Location Initials is fine)
THE LESSON Acting Coach School (Adding Location Initials is fine)
SPECIAL SKILLS
Singing (Alto)(Intermediate), Horseback Riding, Manual Driving, Precision Driving, Karate, Dance (Hip-Hop, Salsa), Swimming, Rapping (Intermediate), Tactical Weapon Usage, Police Officer Experience.
-------------------------------------------------------------------------------------------------------------------------------------------
THAT is how you format a resume! ALWAYS BE SURE of the following:
- ALWAYS TRIPLE CHECK YOUR SPELLING.
- WHAT IS CAPITALIZED AND WHAT IS NOT.
- FOR TV, IF THE PROJECT HAS NO NETWORK, YOU'D PUT THE PRODUCTION COMPANY.
- HIGHEST-LEVEL BOOKINGS ALWAYS GO AT THE TOP OF THE SECTION. IT SHOULD ALWAYS BE THE HIGHEST POSITION HELD OR HIGHEST NETWORK TO LOWEST.
- MAKE SURE SPACING AND INDENTS ARE EVEN.
- NEVER PUT EXTRA/BACKGROUND WORK ON YOUR RESUME.
- THE POSITIONS LISTED IN THE MIDDLE SECTION ARE THE ONLY POSITIONS THAT SHOULD EVER BE LISTED. (EXCEPTION: SOME PEOPLE PUT GUEST STAR RECURRING FOR TV, THIS IS FINE IF THIS IS THE CASE.)
- THE TRAINING LESSON SHOULD BE SHORT AND SWEET, LIKE AUDITION TECHNIQUE, OR MEISNER TECHNIQUE, OR IMPROV, IT SHOULD NOT BE, "THE 12-STEP STRUCTURE OF SCENE EMOTION."
- YOU DO NOT NEED TO PUT WORKSHOPS AS TRAINING ON YOUR RESUME. JUST PUT WHO YOU TAKE OR TOOK CLASSES WITH. (EXCEPTION: YOU DID A 3-DAY CLASS WORKSHOP WHERE YOU LEARNED SOMETHING SIGNIFICANT)
- YOU MAY PUT A SMALL PICTURE AT THE BOTTOM OR TOP CORNER OF YOUR RESUME IF IT'LL FIT AND KEEP YOUR RESUME ONE PAGE.
- IF YOU ARE IN A MOVIE AND YOU HAVE SPEAKING LINES, YOU ARE A SUPPORTING ACTOR. IF YOU WERE HIRED AS THE LEADING ACTOR IN THE FILM, YOU MAY PUT LEAD. THERE ARE ONLY TWO ROLES IN FILM AND THAT IS LEAD AND SUPPORTING.
- FOR TELEVISION, YOU ARE EITHER A CO STAR (SMALL AMOUNT OF LINES, MAY ONLY BE IN ONE SCENE), A GUEST STAR (THE EPISODE MAY BE ABOUT YOU, YOU ARE IN SEVERAL SCENES WITH SEVERAL LINES, BUT ONE EPISODE), RECURRING (YOU WILL BE IN MULTIPLE EPISODES BUT NOT ALL OF THEM), SERIES REGULAR ( YOU ARE THE LEAD, AND WILL BE IN JUST ABOUT EVERY SINGLE EPISODE.) THESE ARE THE ONLY ROLES FOR TV AND THEY ARE THE ONLY ONES THAT SHOULD BE LISTED ON YOUR RESUME. (GUEST STAR RECURRING, AND TOP OF SHOW GUEST STAR ARE ROLES THAT ARE MEATY, AND MULTIPLE EPISODES MAY BE ABOUT YOU, HOWEVER, YOU ARE NOT THE LEAD IN THE PROJECT.)
- IF YOU BOOK IT, LIST IT! IT DOESNT MATTER IF THE PROJECT AIRS OR NOT. IF YOU APPEAR IN IT AFTER EDITING OR NOT. YOU BOOKED IT. LIST IT.
YOUR HEADSHOT IS ONE OF THE MOST IMPORTANT MATERIALS YOU HAVE TO MARKET YOURSELF AS AN ACTOR. IT IS YOUR FIRST IMPRESSION, YOUR PHONE INTERVIEW.
NOTE: A THEATRICAL HEADSHOT IS (NO SMILE) A COMMERCIAL HEADSHOT IS (SMILE)
YOU MUST RESEARCH HEADSHOT PHOTOGRAPHERS AND VIEW THEIR PHOTOS TO FIND THE RIGHT PHOTOGRAPHER FOR YOU. DO NOT GET HEADSHOTS DONE BY ANY PHOTOGRAPHER, GET THEM DONE BY A (ACTING HEADSHOT PHOTOGRAPHER).
THERE ARE SO MANY RULES AND INTRICACIES TO ACTING HEADSHOTS THAT THE HEADSHOT PHOTOGRAPHER MUST BE KNOWLEDGEABLE OF BEFORE SHOOTING YOU. LIGHTING, ANGLES, TYPE, AND ATTIRE CHOICES ARE ALL CRUCIAL DECISIONS WITH HEADSHOTS.
YOU SHOULD ALWAYS HAVE A GOOD THEATRICAL AND COMMERCIAL HEADSHOT. YOUR ACTORS ACCESS DOESN'T NEED TO BE FILLED WITH HEADSHOTS, JUST A FEW THAT SHOW RANGE (THE DIFFERENT CHARACTER TYPES YOU CAN REALISTICALLY PLAY.) YOUR PICTURES SHOULD NEVER JUST BE BARE-FACED. SHOW SOME PERSONALITY, SHOW A CHARACTER TYPE WITHOUT OVER PLAYING IT OR DOING TOO MUCH. A SMIRK OR INTERESTING USE OF THE EYES WORKS, BUT WE NEED TO SEE SOMETHING OTHER THAN A PICTURE.
THE QUALITY OF THE PICTURE SHOULD BE AS SHOWN. CLEAR, HIGH RESOLUTION, MIDDLE OF CHEST TO TOP OF HEAD, VERY LIGHT RETOUCHING (EDITING) YOU WANT TO LOOK LIKE YOUR PICTURE IN YOUR AUDITIONS, NO DISTRACTING CLOTHES WITH WEIRD PATTERNS OR LOGOS.
KNOW WHO YOU ARE!!! CAN'T STRESS THIS ENOUGH, TAKE A WORKSHOP LIKE "THE SAM CHRISTENSEN IMAGE INTENSIVE" BY GET TAPED! OWNERS MATT AND BROOKE CORNWELL. THIS WILL HELP YOU UNDERSTAND HOW PEOPLE VIEW YOU. REMEMBER, AS AN ACTOR, IT DOESN'T MATTER HOW YOU VIEW YOURSELF, IT MATTERS HOW EVERYONE ELSE VIEWS YOU. THAT'S WHAT'S GOING TO BOOK WORK -- WHEN YOU LEAN INTO HOW EVERYONE ALREADY SEES YOU. YOUR PICTURES SHOULD DEPICT THIS! THEY NEED TO SHOW WHAT YOUR TYPE IS, AND WHAT YOU CAN REALISTICALLY PLAY.
The most common mistake that new actors make is seeking out an agent before they're ready. For this reason, actors shouldn't find an agent, but they should let an agent find them. Instead, you should be training, consistently in class, in workshops, seminars, wherever you can go to get more knowledge and strengthen your craft.
When you're in class, your acting studio typically has showcases where agents and casting directors come to see you perform. When you attend workshops, you typically can show an agent or CD what you're capable of, and if they think you're outstanding, they'll reach out to you. Sometimes you're outstanding but they already have someone with your type on their roster and don't want to conflict. These things are outside of your control. It can sometimes take many years to learn enough about the craft of acting and the acting business to sign with an agent. Just know, when you sign, your entire image, brand, and reputation are on the line. They don't care if you screwed something up because you did know, it's your job to know before you sign. So don't rush it. Let things flow as they may, let things come as they come, and just spend your time doing the work and getting the training you need. We promise... an agent WILL find you.
"When I first started taking acting classes I made it into a showcase. I did pretty well in the showcase, so one of the top agencies in the city reached out to me. I did the audition and didn't get signed. I was crushed. Years later, I went back and looked at that audition again, I don't even know what I was thinking. It was terrible. I'm so glad they didn't sign me, because I would have ruined my career before it got started. Today, I'm with a great agent, and I audition all the time, but If I didn't have the knowledge that I have about the business and this craft, I don't know where I'd be." - Amondre D. Jackson
Actors beware of scams!! They are all over! There is nothing, and I mean nothing that should cost actors thousands of dollars. The only things that actors should be paying for are classes and materials. Below is a list of things actors should be paying for and their typical costs:
Classes - $100-$300 per month
Headshots - $150-$750 per session
Workshops - $200-$900 per event
Self-Tape Services - around $1 per minute
Actors Access - $68 per year
Casting Networks - Free
These are standard price ranges for the main services that actors use. You shouldn't be paying several thousand dollars upfront for classes or showcases, or anything that someone claims they can do to help you get acting work.
This isn't something that happens overnight. You have to be in class training. You'll find everything else you need there.
The best places to find legitimate acting studios are Atlanta, Los Angeles, and New York. It pays to move to those areas if you're serious about acting. A lot of acting studios in those cities also do online classes. So, if you can't move, take classes online.
A common misconception that actors have, is that they must have a demo reel to get signed by an agent or to book. This isn't true. Having a bad demo reel can stop you from getting signed or booking. You will still get auditions and book work without a reel. You don't have to make fake ones either. The headshot and the work will speak for itself. Once you start booking, you can get your footage and start to piece together a reel.
Another important thing to do is create clips. Clips are short scenes maybe around 10-20 seconds showing something specific. This can be comedy, drama, romantic scene, killer, sports agent, reporter, etc. Whatever roles you've played that show what you can do. This makes things easier for your agent when pitching and submitting you for roles.
Reel Standards:
-Demo reels should not be more than around a minute and a half.
-There's no need for a special intro, just jump right in, best scenes first.
-You don't need to show the whole scene, just a snippet of how good you are in the scene.
-Never show more than a second or two of someone else in your scene. The focus should be on you and only you. If we can't see you well, don't put it on your reel.
-Only film and television scenes go on your reel. Commercials do not. You may make a separate commercial reel if you'd like.
-Do not put self-tapes on your reel.
-Only use the footage if it has good lighting, sound, and acting.
-Do not make your own content for a demo reel UNLESS you are able to make the footage television quality, and that can be massively expensive.
The best thing to use is a high-quality camera, like a Sony a6400 or something similar. These cameras run over a thousand and you'll need to buy an SD card and a RODE mic to mount on top of it. Completely understandable if this isn't affordable for you. You can certainly use your phone.
You can order a great backdrop for your skin tone from stores like Amazon. Just make sure it's big enough like the picture to my left, and that you order one that comes with the stands and tools to hold it up. Backdrops should be gray or blue, going with any other color is risky.
You're also going to need box lights. Buy at least two and place them further back away from you. Sometimes it's best to turn them slightly away from you as well. The goal is to light the room so well that you are shown clearly, too much light on your face can cause you to look blown out. That's another reason you don't want the lights close to you. Don't mix room lights with box lights, sometimes the bulbs are two different colors, and it doesn't show well.
You'll need a tripod to mount your phone or camera on, and you always want to adjust the tripod for your audition if you're standing or sitting. The camera should be eye-level and all zooming, tilting, and other adjustments should be made from there.
When shooting, make sure that we can only see you and the backdrop on your camera. No backdrop corners or equipment should be in the shot. Make sure your camera is horizontal and not vertical. Frame yourself according to the casting directors' instructions which is typically belly button to top of head (with no headroom) for the scene, and chest to top of head for the slate.
Make sure your mic is working that is on top of your camera. Some people buy the mic system that allows you to attach a small mic to your shirt to get better sound. If you do this, just hide the mic.
Make sure you have a good reader that you can feed off of and that your reader DOES NOT talk louder than you.
FOLLOW THESE STEPS WHEN DOING A SELF-TAPE AUDITION:
1. MOMENT BEFORE - You should already be in action, acting out what was happening in the environment of your scene before the scene began. This action leads us into the scene.
2. SPECIFICITY - You must have a specific emotional choice determined before starting your scene. A lot of people use an emotional wheel to make a very specific choice as to their character's emotional state, which also ties into their character choice. When your choice is clear, it is more intriguing.
3. THE BUILD - The scene should build. You have to start somewhere and take us on a colorful rollercoaster ride.
4. CONCLUDE - Don't start on 10 because you'll have nowhere to go. The worst thing you can do is be one-note through the entire scene. End the scene giving the viewer an understanding of how this story can move forward. Come down from your high.
Commit to your choice and give energy and personality to your audition. If you lack commitment, everything will seem half-done. This will discourage you from booking.
DO THE WORK! You should have done extensive script analysis before you even got to the point where you're in front of a camera.
1. Where Are You?
2. Who Are You With?
3. What is You All's Relationship?
4. What is The Dynamic of That Relationship?
5. What is Your Characters Objective in The Scene? (What Do They Want Most)
6. What is Your Overall Scene Objective? (What Story Are You Telling in This Scene That Viewers Need to Know to Move The Story forward)
All of this is important when doing a self-tape audition!
Use iMovie, Adobe Premiere, or any other film editing software you can find that allows you to easily edit your videos. When editing, just choose a good starting and ending point that looks good and natural. You may fade out, but some casting directors don't like fading in. Sometimes you may need to use noise reduction to eliminate background or room noise. Always ensure your files are exported in 720p and the file size does not reach 200mb.
So, you've booked, and you don't know what to expect. Well, let's get into it!
You will receive communication from the 2nd AD (Assistant Director) or the wardrobe department once you get closer to your filming date. They'll typically want to schedule a fitting in advance of filming so they can have your wardrobe ready when you arrive on set to shoot. If it is a SAG project you are paid for your fitting appointment.
Next, you'll receive communication from the 2nd AD typically by email providing you with details and a call sheet. The call sheet is a document that details everything about your shoot date. The location, the time you should arrive, the scenes you're shooting for the day, all the way down to the nearest hospital, and the time of sunset. The call sheet is your guide.
Here are a couple of links that teach you how to read a call sheet:
The Anatomy of a Call Sheet: A Video Tour | StudioBinder Tutorials
https://youtu.be/px-qMyIOi4w?si=zHtssuk2ocMcvGTA
https://youtu.be/SBMgmyRHOUA?si=Y3iJSE8u3ugGdL3V
Don't worry if you shoot in two days and haven't heard anything, this is normal. Sometimes they'll reach out late the night before filming with the info. I don't know why; they just do that sometimes. Anyhow, congrats on your booking, and break a leg!
Set can be a number of things. It can be busy, where the director is trying to make the day (finish on time without spending more money) so everyone is on edge and moving quickly.
It can be chill, where everyone is super nice and social, and it's inviting and fun. It's a good idea to feel out the vibes and move accordingly.
ALWAYS BE ON TIME! 15 MINUTES EARLY IS ON TIME!
When you first arrive to set, you'll go to what's called "Base Camp". Base camp is where the trailers are, and where you'll typically meet your 2nd AD to get acclimated and receive everything you need. Typically, your wardrobe will be in your trailer when you arrive to set, along with the paperwork you must fill out and your per diem (daily spending money - in cash).
(This applies to SAG work)
Hair and make-up are usually around base camp, so they'll get you right before you start shooting. It's best to get to know everyone by name so you can address them accordingly and so they can remember you.
Once it's time to shoot, a driver will come get you and take you to set. When you get to set, you'll be greeted by a P.A. (Production Assistant), a 1st AD, the Director, and the Producers. Now, you and potentially your scene partners will block the scene (decide where you'll walk, what you'll touch, where your mark will be, etc.) Once that's done, you'll shoot.
You are encouraged to know your lines well, be prepared to improv if needed, listen and react to your scene partner, and feed off of each other.
If you forget a line, DO NOT stop the scene or kick yourself in the middle of filming. Just stay in the moment, pause, and when the line comes to you, continue the scene. If it doesn't come to you, yell, "Line!", and the script supervisor will yell the line out, then you continue.
Be conscious of the things you do when filming your scene. Continuity is important. You must do the exact same physical actions each take. You may deliver differently, but the physical actions must be the same for continuity.
Most of the time you'll notice people they call the "second unit" on set. These people stand in for you while the 1st AD, director, and DP set the scene. Once they're done, you come in and block before shooting. You'll also see a lot of extras. They are used to fill the background of the scene.
List of typical set crew you'll interact with:
2nd AD - (Assistant Director - handles administrative stuff and communication)
1st AD - (Assistant Director - helps run the production, works hard to keep the production moving smoothly and on time, they're actually the ones who yell, "Action!")
P.A. Production Assistant - an assistant to set. They are there to help with just about anything needed)
Director - (leader of the production, decides how the filming process will go)
Producer - (People financing and controlling the ins and outs of the film project)
Grip - (tear down and build up equipment. Handymen. They also move everything around.)
Gaffer - (Lighting Technician. electrician.)
Sound Mixer - (Handles sound)
Scripty - Script Supervisor - (Helps make sure the script is being followed, keeps the script handy, helps with lines, and maintains continuity.)
All sets typically have a "Green Room". This is just a holding area for you to rest until you're needed on set.
Lunch is always provided, and there are always crafty tables somewhere on set in between time. Whatever you do, don't spill anything on your wardrobe, don't eat anything before shooting that may affect your stomach, and don't make yourself sleepy.
We use cookies to analyze website traffic and optimize your website experience. By accepting our use of cookies, your data will be aggregated with all other user data.