Camera, Speed...Action!: An Insider's Secrets to the Real World of Acting

By Michael Ray Davis

Camera, Speed...ACTION! is a fascinating study of and a sometimes eye opening learning opportunity concerning the Real World of Acting. Written in an opinionated, conversational, sitting at the kitchen table tone, the book explains the disappointments, the successes, the reality, as well as the business aspects and a general overview of what to really expect as an actor. Irreverent at times, humorous and serious, but always real, Camera, Speed...ACTION! will make you want to get into acting, redouble your dedication to the business, or make you question if you really want to be an actor. There’s something for everyone who has any interest in the business of acting in Camera, Speed...ACTION!

• Language: English
• Publisher: AuthorHouse
• Release date: Mar 29, 2011
• ISBN: 9781456735760

Michael Ray Davis

MICHAEL RAY DAVIS has a long history of various and sundry careers. His claim to shame is he has had more careers than most people have had jobs. Davis began his acting career as a DJ, leaving a lucrative job driving a truck for a quarter of the salary to work in radio. After 4 years he realized the Peter’s Principle as he had become GM of the small town radio station where he had been doing mornings, play by play, sales, news and promotions. He left radio and got into doing voice over work, found out “Walker, Texas Ranger” was hiring extras, had a picture made, begged and got an agent and began his acting career 17 years ago as of this writing. Davis is a bred and born Texan, but currently resides in Orlando, Florida with his Redhead (Wife) of 23 years and continues to work on a regular basis as an actor and voice actor.

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Camera, Speed…ACTION!

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Michael Ray Davis

an insider’s secrets

to the real world of acting

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AuthorHouse™

1663 Liberty Drive

Bloomington, IN 47403

www.authorhouse.com

Phone: [phone]

© 2011 Michael Ray Davis. All rights reserved.

No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means without the written permission of the author.

First published by AuthorHouse 3/24/2011

ISBN: 978-1-4567-3576-0 (e)

ISBN: 978-1-4567-3577-7 (sc)

Printed in the United States of America

Any people depicted in stock imagery provided by Thinkstock are models,

and such images are being used for illustrative purposes only.

Certain stock imagery © Thinkstock.

Because of the dynamic nature of the Internet, any web addresses or links contained in this book may have changed since publication and may no longer be valid. The views expressed in this work are solely those of the author and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them.

Dedication

This book is dedicated to a lot of people. The actors that have appreciated my work, the ones who have told me when I sucked or didn’t, the friends who have asked me for advice for whatever reason, the directors and producers and writers who have asked me to be part of their projects.

But my real dedication for this book has to be the one person in my life who has been my total inspiration, my biggest fan and critic, the bitch in my ear when I was screwing up, the lover when I needed comfort and soothing when I cried, called me down when I screamed and raised hell about the stupid director or casting director that wouldn’t see me or hire me and the woman that I had no right to be with for all these years. A woman met in a bar for nothing more than a one night stand who decided for some reason to stay with my dumb butt for a few more than 20 years and became my friend, lover, confidant, bookkeeper, consultant and caretaker, and actually agreed to be my wife, even knowing my history of philandering and carousing.

I dedicate this book to my Best Friend, my Redhead, aka Wife, Loleta K. Moore-Davis.

Thank you for everything you’ve done for me, sweetheart.

(Well, assuming you get all this stuff put together to look like a real book! ☺)

Preface

Writing of this book came about as a result of wanting to do some reasonably priced acting classes for one of my buds, Art W. Smith, Jr. We wanted beginning and intermediate actors to get a clue as to what to expect in the business for something less than 350 bucks. That’s still gonna happen, but when I started writing it, the Two Hour Acting Class in only 3 Hours became the monster that has become Camera, Speed…Action! An Insider’s Secrets to the Real World of Acting.

I have probably blown some auditions during the writing of this book that is designed to tell you how not to blow an audition, ignored my Redhead, called the cat that got on the keyboard names that I really don’t wanna use here and, in general, been a horses ass. Dimwit will suffice for the cat. I have awakened at 2 am and wrote something worthwhile, only to find out when I was awake it wasn’t worthwhile at all. I have written notes on envelopes that I threw into the recycle bin, recorded voice of what I wanted to say and not been able to find the memory stick when I wanted to write the part I had recorded. Every sentence has lead to another sentence; every definition has lead to a definition of the definition.

A little bit about acting, a little about the set and the people you’ll be working with and a little bit about the overall business, like the part where you get paid and stuff.

Basically what you should expect if you really are silly enough to get into this business.

I’m thanking the Redhead here, (probably don’t need to, since I wrote that glowing dedication), but she has suffered more than anyone else from my agonizing need to share with you the realities of acting. She has been helpful, sometimes unwillingly, granted, but always there for me. A kick in th’ butt, a smooch on the cheek, a scream from the back, I’m in th’ shower, dammit!!

And I also want to thank all the great people with whom I have worked on the sets everywhere for all giving me some fodder for the basis of this book.

And special thanks to Christine Padovan for her efforts helping me with audition videos, and for her help in producing the educational videos that will soon be available on the web site.

Many people have shared information with me that I would not have been able to gather in a lot of cases. Their names are lost in the infinite films, TV shows, commercials and the rest, but they are all treasures to me. The ones who were willing to share the same information I intend to try to share with you as I give you the tools you need to help you understand and succeed in the business.

You’ll find this book not to be very grammatically correct; it’s written for conversation, so now seems like a good time to get on with it, and go to the kitchen table, get some popcorn, a cold beer or some ice tea and have a little conversation about the real world of being an actor.

Michael Ray

Contents

So You Wanna Be An Actor?

Do You Have What It Takes?

Wardrobe—Changing the Way You Shop

How Often Are You Going To Work?

Auditions—What are they?

Education

Commercials

Episodic TV

Film

Resume

Getting That Agent

How Do We Learn To Do The Words?

Terms You’ll Want to Know

Epilogue

This is the boring stuff every book is supposed to have.

As the saying goes, ‘actors are willing to give their entire lives to a moment, that line, that laugh, that gesture that will stir the audiences soul.’ Michael is that actor. His sacrifices are almost as painful as his performances…Truthfully he is one of Florida’s greats. I hope to someday have the honor to play opposite him. That would be something.

Randy Molnar, Actor/Producer

So You Wanna Be An Actor?

First thing you need is another means of support, because you’re gonna need one. You’ll starve to death if you think you’re more talented or prettier than everybody else in this business.

If you’re in the biz right now, you know how it goes; you have times when the money flows in and times when it’s dry as Death Valley.

You’re going to need education; (like this course/book), good headshots/comp cards (those cost money), a voice demo (if you want to do voice over, more money), a good demo reel (DVD, almost a necessity these days, more money), and numerous other tools to market yourself, not to mention maintaining your vehicle so you can get to auditions, no matter where you live. You’ll have lots of driving, flying or taking a train. You’ll have to maintain your cell phone, probably want a laptop, connectivity to the internet to help market yourself, your own website at some point…

All these things take money.

A J.O.B. (say job) with a flexible schedule is good but all of ‘em get in the way. Even being self employed and naming your own hours is difficult, because it takes focus away from your goal of being an actor.

Being retired, independently wealthy or having a spouse who will support you are all recommended. Sugar Daddy, Sugar Momma? Not always available, but recommended.

Do You Have What It Takes?

Patience is fairly essential.

Days on a set can run to 16 hours, sometimes busting your buns, but most times waiting. Recently I heard even Samuel Jackson say he didn’t get paid to act, he got paid to wait. And if an A player says that, you can take it to heart! (A players are the ones that are automatic draws to the theater, the ones whose names everyone knows. Sometimes A players are lousy actors, but they have celebrity draw. Wooden words and being somebody’s lover can make an A player very quickly.)

It’s hot on the set, cold on the set, and quiet on the set. You have to be prepared to be disciplined whether you’re working or waiting. If it’s 20 degrees you may be working in a short sleeve shirt; if it’s 100 degrees you may have to wear an overcoat and gloves.

Sometimes the directors have some sympathy/empathy for the conditions, but for the most part they are so focused on the shot that they don’t notice whether it’s hot or cold. At least not the good ones. And there’s another rub.

You’re not always going to be working with pros; some are wannabes who have learned how to turn on a camera and some lights and are going to make the next Million Dollar Baby. (That one was shot for a couple million as I was told, and returned about a 100 times that. That was Clint Eastwood, of course, so you’re not going to have to worry about that for a little while, most likely.)

Just try to be calm, pay attention to what they say and try to remember that the director is not always right, but he is always the boss. Well, until the executive producer tells him he’s screwin’ up. (And sometimes the contract has stated that the director takes all creative control once it’s signed.)

Yeah, yeah. Right! Stay calm. You’re freezing your butt off and the director is looking at making script changes. If you don’t wanna reach out and touch him/her, you’ve been smoking something that I need.

Remember, it’s like any other job. There’s a pecking order and you’re the last one to get pecked, trust me.

True story: On a set, 25 degrees, freezing cold, bouncing around like an idiot, principal on the set, along with this poor thin beautiful young lady, who is totally freezing, I have my coat off frame, give it to her, we’re both still on our marks, we’re hugging each other for body warmth after the first 4 takes (not our fault, I promise, camera/sound issues) and the Assistant Director says, after twenty freaking minutes, Oh, Michael, you and Janice can go back to the tent, we won’t be using you again for a bit.

We looked at each other, both freezing our butts off, and she said to me; Michael, you want me to kill him or would you like to do it?

I got some really tight hugging in front of the space heater from this attractive young lady, and we thought nothing of it. It was pure survival.

Was that January or February in Texas? Was it Janice or Janet or Juliet? Been too long, but I promise that was cold!

I wish I had kept better records in the beginning. I have no idea how long the resume might be if I had. That’s something for all of you to consider.

Be a good record keeper, and keep up with all related expenses that involve your acting career. Mileage to an audition, maybe even special makeup. Nearly everything you can verify as relates to the Biz is a write off at tax time. Food you ate in Waxahachie for lunch is deductible if you were going to an audition in Austin.

Ooops. Disclaimer here. I am not a tax attorney nor a tax expert. I have written these things off my tax forms and they have been accepted; check with your tax preparer or tax attorney before you decide what you can and can’t deduct. Please.

To keep me from being audited!! ☺

If I were you, I’d take my chances! (But I didn’t say that!) Right?

You’ll need to work on keeping your mouth shut when not being asked to talk. When the A.D. (Assistant Director, there’s usually a first and a second, the first will usually be the loud guy on set, the second will be the one who tells you what time to be on set and where you need to go, sometimes will direct extras.), says quiet on the set; that’s what he/she means.

You can screw up a scene by your keys rattling, taking a step in your wooden shoes, squirming in your seat, yawning, whispering…there are more examples; you can screw it up and it’s not a happy on a professional set when that happens. You probably won’t get fired, but everybody will know you just cost them money and time.

Best bet when you hear quiet on the set if you’re not in the scene? Freeze. Don’t move, don’t breathe, ignore everybody around you. And separate yourself from noisy people; they’ll get you in trouble.

And, despite the probably won’t be fired part, they can and do kick people off the set.

And, of course, in these days, turn off your cell phone!! Nothing says non-professional as much as your phone ringing during a shoot.

Breakfast, lunch and dinner are when you should turn the thing on, and remember to turn it off. You don’t have enough to talk about (no, you really don’t, you’re not that important) to need to talk to people when you’re on the set. There’s vibrate and silent modes, yes, but off is the operative word here. You won’t be distracted that way. And BS distracts you from your goal, anyway.

"My friend Michael Ray Davis is not only a very good actor, but has a great sense of humor. His book will be a must read for all actors!" Deborah Agoos, Model, Actor and Friend

Think about it this way. You’re in an office environment. Your job is to answer the phone at the front desk. You’re being paid to answer that phone, but you are talking on yours. How can you be efficient for your potential customers or employers if you are talking on or expecting a call from your personal phone? (Drat. It is still telephone, spell check doesn’t like phone.)

Treat the set environment the same way as the office environment. It is no different. It is not a day of fun; it is a day of work!

"Michael is always willing to go to any audition, booking or even pick up lunch — if you buy." Marge Woods, Former Owner/Director of Strictly Speaking Voice Acting Agency

Former Owner? Maybe because she represented me?!!

Telling on myself here, but I once had a phone on vibrate and I also had my car keys in my pocket with the phone. Duh. Audio rolling, ECU (Extreme Close Up), boom mic, lavalier mic and my pocket rattles. And it’s 9 p and these guys have been at it since 5 a.

They can’t throw me off, I’m the hot shot; but the crew wants to do things to me that are rated XX!

Don’t let that actor be you, especially when you’re new, but more especially after you know your way around. Remember, your reputation as professional or non-professional follows you everywhere.

So just turn th’ dang thang off until you’re off set.

"Through his broad range of experience, Michael has developed a good sense of "street smarts" on acting and what casting directors want. When he gives advice, I listen." Al Aki, Actor and Friend

Wardrobe—Changing the Way You Shop

You’ll need to buy some soft sole shoes, because not every set will have the little cushions for your shoes. If you are an extra in a big scene that requires lots of walking, you may even be asked to take off your shoes if they have hard soles.

So wash your feet.

You’ll need extensive wardrobe. From this moment forward, never buy anything with a Logo on it. If you buy stuff that has logos, be prepared to have it removed, marked out, marred or destroyed.

Nobody cares about Polo because if we are making a film and one of the folks see a Polo shirt when the film comes out they may want us to pay them for the right to use their logo!! Budweiser, Coors, same thing. When we drink a beer, pour some liquor, we better have a product placement deal with the company in question. (And the converse of that is the smart producer can actually get some money for using a brand name. Ask my buddy Nick Loritsch (hope I spelled that right.) who just wrote and produced Born and Raised in Panama City, FL.)

He got a big name beer company to co-co-co-co produce (say invest) in his film in exchange for everybody drinking beer to drink their brand.

But, from the actor’s standpoint, NO LOGOS!! And it’s actually a good idea to stay away from logos at auditions, as well; you won’t look as professional. The Casting Director will know that you know the program and so will the Director/Producer who views your audition.

Stay away from buying black, red, or white for anything; although if you don’t, you’ll always need those colors. Don’t you have a white shirt? No, I’ve always been told not to wear white.

They don’t like the aforementioned colors for extras, or for auditions. But you have to have some black, red or white for when they need it. So damned if you do and damned if you don’t.

Lots of exceptions in the biz! They need a doctor in a lab coat. What color is that? Don’t know about you, but white is the only color lab coat I’ve seen on a doc or nurse, so it’s the only color I have.

What, Michael, you’re saying we bring our own stuff?

Big time movies furnish wardrobe for the actors, don’t they?

The answer is yes, mostly, especially when you’re a principal, but my answer is that I really don’t want to wear ill fitting clothes that one sometimes gets from someone who has purchased in bulk for 12–25 people.

Wardrobe people call and ask for your sizes.

Trust me, (not their fault) I have had 34 inch waist pants that wouldn’t fit a 31 in the waist. One can never know about the cut, so be as honest when giving sizes to folks as you are about your pictures. They need to be real.

And the stuff still won’t fit. (I have a sport coat that has been on at least 200 sets! Wardrobe always seems to like it. And pants I’ve had for 15 years still work.)

The Redhead wouldn’t want me to tell you that we have made a bedroom into a wardrobe and audition room! And we’ve transformed another bedroom into an office/voice studio! So no overnight visitors without prior notice, okay? 

"Having worked with MRD, one thing I know without question is he loves a well-made turkey sandwich on a croissant, or he was really doing a great job of acting when he convinced me so. He’s the best!" Carol McClelland, Web Designer and Voice Actor

I’ll try to defend the wardrobe folks a little later. The pros know you have to jump through hoops just to get clothing to the set.

But this is a business of contradictions, as you will see, as we delve further into its intricacies.

You will always need a white T shirt if you’re male, (referred to frequently and annoyingly as a wife beater) and I don’t know what the ladies have to take for underclothing; but I’m guessing you need your bra and underpants.

Sounds funny, ladies, but I have seen it happen. Little Green dress, nothing under it! DOES NOT MAKE A HAPPY WARDROBE PERSON. Big eyes from the guys, but not very professional.

Everybody needs to do an honest appraisal of themselves if they are wearing tight fitting clothes. Guys, your 15½ neck shirt on your 16½ neck doesn’t work if you have to wear a tie or if you have a gut. Same thing for the waist. Own up to what size waist you have if you’re not 21, anymore. Of course if you’re 21, your mother still buys your clothes and you