Tag: actors journey

Maintaining Healthy Agent Relationships

Chasing The George

I wanted to share some cool advice on what I do to maintain a healthy relationship with my agent. I hope this advice will be helpful to you!

Maintain consistent communication with your agent. You and your agent can determine the frequency with which you both communicate because each agency is different. Also, find out what their preferred method of communication is (email, text, phone call, in person) In my case, it’s through email.

Please know that agents are incredibly busy people, so make sure that your communications are clear, to the point and not filled with filler and bullshit. Don’t waste your time, don’t waste their time. Make the communication effective and business-focused. This is your agent, not your best friend from college. The communication should be about something that can move your career forward (e.g., you signed up for a new improv class; you are taking new headshots; you updated your reel and are providing a link for them to watch it; you are taking a casting director workshop; you took a casting director workshop and you are providing your agent with quotes that the casting director said about you; you are reaching out to see what materials they need from you, etc.)

Use communication to work together towards the realization of your dreams. Is there a series you’re passionate about and can see yourself on? Let your agent know and have them keep their eye out on the casting breakdowns for that series and possible characters on it that they can submit you for. If your agent knows you’re passionate about a series, then their attention will be on it. They may even encourage you to target the series as well!

Return their communications in a timely manner. Don’t have them chase after you. If they ask you to do something that could benefit your career, consider it and do it. The relationship between you and agent is a dance partnership. Present your viewpoints and listen to their viewpoints. Fight for the stuff you believe in and consider their ideas as well. Be open and “yes, and…” The cool thing about this dance partnership is that when you first interview with an agent, be clear about what you want for your career and how this partnership can support that. Be clear about what you want from jump street so that all communications and actions can be in support of your dream.

Update your materials on a consistent basis and send to them. Headshots, reels, etc. In addition, email them auditions you’ve done in your on-camera audition class. Email them links to projects you’re in. In this way, you’re giving your agent tools that they can work with and pitch you with. In addition, they’ll also see that you’re active about your career. Keep them excited and invested in you by involving them in your journey. Make the effort to stay in their minds.

Be in a good acting class to continue training and growing as an actor. Scene study, improv, on-camera audition class, etc. I don’t care what it is. Be in class and stay sharp.

Be prepared for the auditions you are sent on. Prepared from confirming the audition with your agent to knowing what the project is about to being off book to getting there on time to sending thank you cards to the casting directors afterwards, etc.

Be enthusiastic about your career and be committed to it! If they see that you are enthusiastic and committed to your career, then they will be more inclined to go to bat for you and prolong the business relationship longer.

Thank them for the work they do for you! Whether it’s in the form of words or gifts, appreciation goes a very long way! Agents do a lot of work and don’t get paid until their clients book work. Show them that you appreciate them. Thank them every time they secure an audition for you. Thank them for going through the casting breakdowns every day for you. Appreciation goes a very long way!

Understand that we have to do the majority of the work in this business relationship. It’s your career and so it’s your responsibility to put in the hours and work. Don’t rely on your agent to do it all for you. That’s not how this works.

Leave me a comment and share what you do to maintain healthy relationships with your agents! I’d love to read them and possibly implement them as well!

Let’s Recap

Chasing The George

Hey everyone! I thought this would be a great moment to recap the blog entries I’ve done so far in 2017. Enjoy!

Follow Your Genius: http://wp.me/p8uI5M-19

Taking Headshots Part 1: http://wp.me/p8uI5M-18

Taking Headshots Part 2: http://wp.me/p8uI5M-12

Taking Headshots Part 3: http://wp.me/p8uI5M-Y

Bad-Ass Women In A Trump Era: http://wp.me/p8uI5M-17

I’m The Artist Of The Month!: http://wp.me/p8uI5M-13

Why Training Is Important: http://wp.me/p8uI5M-11

Taking Headshots Part 3

Chasing The George

Taking Headshots Part 3

Happy Oscars day! Congrats to all the nominees! I’ll be at a fabulous Oscars party to celebrate my fellow artists.

Here’s a picture of the fabulous photographer Marisa Leigh and I after we wrapped our amazing headshot shoot. It was an incredible and fun experience. Everything flowed so beautifully and I can’t wait to see the pictures online on Monday, February 27th! And I love that I took new headshots the day before the Oscars. Talk about a powerful, mother fucking postulate!

The shoot was such a success because I spent over a month preparing for it. Pre-production is everything! Everything ran smoothly because of all the prep work I did beforehand and I had so much fun during the shoot. It also helped to have a photographer who was open to collaboration and play and who makes you feel at ease (which was part of my pre-production process of researching photographers) And it helped to have someone on set with me from my artistic community to be such a vital support system (Reed Iacarella) And a special shout out to my partner Chris Beber for the support you flowed and for making this a reality.

To catch you up on my headshot process and journey, here are parts 1 & 2 below:

Part 1: http://wp.me/p8uI5M-18

Part 2: http://wp.me/p8uI5M-12

And here are the final steps of my headshot preparation…Part 3:

I got a good night’s sleep.

I ate a good breakfast.

I arrived early. This is something many people take for granted. ARRIVE EARLY GOD DAMMIT! I always arrive early so that I can get settled and get present.

In the week leading up to my headshot session, I created a music play list for each character (Thank you Reed for reminding me to do that!) I created music playlists that put me in the zip code and vibe for each character. Some musical choices were literal. Other musical choices were not, but still put me in the zip code and vibe of each character. Here are my playlists below:

Fashionista/Interior Designer (I wanted fabulous, cunty music)

RuPaul feat. Ab Soto “Cha Cha Bitch” (Ralph Rosario edit)

Erika Jayne “How Many Fucks?”

RuPaul “Cover Girl”

RuPaul “Sissy That Walk”

RuPaul “Supermodel (You Better Work)”

RuPaul feat. Dave Aude “Step It Up”

RuPaul “Glamazon” (Gomi Tribalistic Remix)

**Okay, okay, I’m obsessed with RuPaul and his empire!

Public School Teacher (I wanted music that was positive, inspirational and a little unconventional)

Andy Grammer “Keep Your Head Up”

Sara Bareilles “Brave”

Us3 “Cantaloop (Flip Fantasia)”

Len “Steal My Sunshine”

Office Worker (I wanted music that gave me this feeling of What The Fuck?)

Madness “House of Fun”

The Proclaimers “I’m Gonna Be (500 Miles)”

Stealers Wheel “Stuck In The Middle With You”

Capital Cities “Safe And Sound”

 

Hacker/Hacktivist (I wanted music that was industrial, dangerous, hard, subversive)

The Prodigy “The Day Is My Enemy”

Rob Zombie “Reload”

The Prodigy “Smack My Bitch Up”

White Zombie “More Human Than Human”

 

Nurse (I wanted music that had a certain sexuality to it. A secret. A mischievousness to it)

Miguel “Adorn”

Alex Clare “Too Close”

 

Last, but not least, the minute I got to set, I let it all go. I trusted that all the work I did was in me and now it was time to play. I was focused and made sure to follow my headshot template, but I was also open and present to impulses and ideas that Marisa and Reed gave to me on set. I sent Marisa my headshot template on February 2nd and Reed my headshot template the night before. Marisa was on the same page! Reed was able to build upon it and feed me other lines of subtext for my characters. I was prepared and able to let it go. I was able to get what I want and more. I was like, “Yes, and…” “Yes, and…” “That’s great, I love that idea…” “Great, let’s also try that…” I wasn’t locked and rigid in things going my way. I wasn’t unmalleable. I got what I wanted and more! Marisa would show me various takes with each character to make sure we were getting the product I wanted. I was incredibly happy with the work that was being created!

After the headshot session was over, I celebrated! Celebration is vital because it cements the win. It locks in the achievement.

I’m truly happy with the work I put into getting my headshots and the support I received. I can’t wait to look over the headshots online on Monday!

Happy Oscars day!

I’m The Artist Of The Month!

Chasing The George

Happy Sunday! Hope you’re all well and having a great weekend.

Just wanted to let you know that I have been selected as the artist of the month. Honored and pleased to be part of a wonderful community of artists at my school, the Richard Lawson Studios. Read my interview to find out how and why I received this distinction:

http://studio.richardlawson.net/featured-rls-student-jorge-ortiz/

Week 2 Status Report!

Chasing The George

For a second week in a row, I stepped up my awareness in certain areas of my personal and professional lives so that I can be in alignment with my career postulates. With this increased awareness, and by taking a set of actions, I am stepping into the light and power of my postulates. If I see and want these things for my career, then I need to behave and act in accordance with the things that I see and want. For example, one of my postulates is:

I am a household name infiltrating and conquering mainstream Hollywood through my film acting work and by creating TV and Film content that is just beyond the margin of comfortability (Daring and artistically free content that falls within the wheelhouse of HBO, Showtime, Netflix, The Weinstein Company and other powerful indie studio houses)

I see this postulate. I just have to fill in the blanks to get there. Take the actions to get there. So that when I do become a household name, it’s déjà vu because I already saw it X amount of time ago. But in order for me to get closer and closer to achieving this postulate (and other postulates), I need to have an increased awareness of how to live and operate my life in certain areas. For example, I have to be a leader. I have to be in the front. I have to speak my mind. My viewpoint must be unyielding with good-humored inflexibility. I have to ask for what I want from the people on my team, etc. I have to take actions and vibrate at the same frequency level of my postulates.

So I tackled the same list of actions again from my October 16th blog entry. Again, some of these actions are already a part of my everyday routine. A few other actions are a little more challenging and I need to lean into them more. That being said, I had a little more ease with tackling the challenging actions in the second week than I did in the first week. Moving forward, I have to continue tackling these challenging actions until they become a way of life for me, a part of my routine.

So without further delay, here are the list of actions I took again. This is not a final, comprehensive list of all the actions I take for my life and career. This is just a small sampling of my career administration, with a focus on challenging actions I need to step it up in. The asterisk (*) indicates a challenging action.

To sit in the front row. (Yes. In both of my acting classes)

**To speak my mind immediately. (Yes. Better. Improved.)

**To follow my impulses and instincts. (Yes. Better. Improved)

To lead. (Yes. Taught my ass off in the PDP 1.0 and PDP 2.0 classes.)

To dance while in the passenger seat of a car when a good song comes on or when the driver dances. (I did not ride shotgun this time.)

To spice things up. (Yes. Sunday night.)

To dance in the streets. (Yes.)

To make extra money. (Yes. Two times.)

To be myself without apology. (Yes. In terms of the way I laugh, the things I say, the jokes I say, the way I dance.)

**To hold my own space. (Yes. Much better. Improved)

To dance without consideration at the top of acting classes. (Yes.)

To continue administering my acting and writing careers. (Yes! Yes! Yes!)

To engage in conversation with a new person (Yes. I engaged with a customer at the smog check station, with the tech assistant at the smog check station and with two people at a Halloween party.)

To ask various industry people for something I want. (Yes. I reached out to two TV showrunners to be their assistant.)

To excite my agent again with a new piece of administrative evidence that will push my career forward. (Yes. I sent them my commercial headshot template.)

To be submitted on 3-5 TV series and 3-5 feature films. See below:

TV Series: The Fosters, Silicon Valley, Counterpart, Grey’s Anatomy.

Feature Films: Happy Anniversary, Willie and Me.

To impinge! (Yes. I stood by my Halloween costume concept and didn’t yield from it at the Halloween party. Also posted my concept on Facebook. I also impinged when I taught PDP 1.0 and PDP 2.0. I impinged with an audition I did. Etc. Etc. Etc.)

From Dead Last to Top 3!

Chasing The George

Am I talking about being dead last on RuPaul’s Drag Race (You know, the wildly-addictive, funny and touching reality show that looks for America’s next drag superstar)? Am I talking about the drag queens who get eliminated on the first episode of every season like Porkchop, Shangela, Penny Tration, Kelly Mantle, Magnolia Crawford, Tempest DuJour, etc.?

Nope!

I’m talking about being dead last when my classmates and I in the Professional Development Program 3.0 class created a comprehensive points system in January 2016 to track our progression as the CEO’s of ourselves as artistic businesses. The points system covers many different categories of career administration and the value of the points varies from one category to the next. For example, putting up a scene in class is worth a certain amount of points whereas booking a guest star role on a TV series is worth a higher amount of points. Mailing out postcards is worth a certain amount of points and making an industry phone call is worth another amount of points.

What I love about the points system is that it gives me an accurate picture of where I am thriving as an artist and where I am not. Which areas I am strong in and which areas I need to put more attention on. And you have to be honest about giving yourself points in the different categories because it’s an honest look at your career administration. To cheat the points system in order to be ahead of others only hurts yourself. To cheat and add points that weren’t earned only hurts yourself in the long run. We are a business. We punch in and we punch out. The points system tracks our progress. It’s our profits and loss statements. It’s our growth statements. No point in cheating.

When we started tracking our points back in January, I was shocked to see that I was dead last in terms of points earned. Out of all my classmates, I was dead last for three or four weeks straight. I was mortified! How could I, of all people, be dead last in the areas of career administration?!?!?!?! I’m supposed to be Chasing The George every week!!!! I’m supposed to be the motherfucking man, careering gaily over the waves!!!!

Instead, I looked like the screaming man in the famous painting, “The Scream”, by expressionist artist Edvard Munch. The horrors! The horrors!

Instead of giving up, I decided to focus and study the facts. First of all, I wasn’t clear about what I wanted 2016 to be about on a professional level. That was problem number one. Public enemy number one. Without clarity, my career administration was general and uninspired. I didn’t have clearly-defined goals to work towards. So being dead last was a wake up call for me to get specific about what I wanted 2016 to be about.

Once I got specific about the professional design for 2016, I moved pretty quickly into the second to last position on the overall points earner list. I was earning more points in different categories and that excited me! The points system also forced me to administrate and take action in certain categories that were uncomfortable for me. Categories I had a flinch on. Why does this section have no points at at all? What am I scared of? Focus on this area. Confront it. Be a better artist at the end of the day because I am confronting uncomfortable categories.

As I gained momentum on my career administration, I continued to move up the overall points earner list. If I saw someone gaining up on me, I worked harder and pushed myself further. What risks could I take this week to stay ahead?

On July 8th, we assessed our six-month progress in class and it was really nice to hear the points list administrator acknowledge how cool it was to see me move up the list over the last six months. By the time we assessed our progress on July 8th, I was in the Top 3! I was positioned at #3!

In RuPaul’s Drag Race terms, I was the drag queen who made Top 3! I joined the ranks of past Top 3 Drag Race contestants like Nina Flowers, Alaska Thunderfuck, Roxxxy Andrews, Adore Delano, Courtney Act, Pearl, Ginger Minj, Kimchi, Naomi Smalls, etc. When you make Top 3 in RuPaul’s Drag Race, your career is pretty much set for life. Top 3 is still a rocking place to be even if you aren’t crowned America’s next drag superstar (the person who ultimately comes in at number one) Top 3 is an achievement. These three have shown consistency week to week on the show and also Charisma, Uniqueness, Nerve and Talent. C.U.N…

Instead of being told to “Sashay away”, I was told, “Shantay, you stay”. Or, more importantly, I told myself to stay and keep fighting.

It was such a gratifying experience to see my hard work pay off.

On July 8th, the points system got revamped and became more streamlined. All our points have been reset and we’re all starting from ground zero again. I hope to be Top 3 again. I’d LOVE to be number one by the time 2016 comes to an end, but I’ll be just as happy with Top 3. Why? Because being Top 3 is still a cause for celebration. It’s still an indication that the work flow I’ve created and maintained for myself is working. It’s still an indication of how consistent my career administration is. Having a work consistency that produces results, that makes an impact and that is in alignment with what I’m about is more important to me.

And at the end of the day, I can rest assured knowing that if I make Top 3 again, I can come back for the All Stars Season…okay, okay, enough of these RuPaul’s Drag Race
references!

(By the way, RuPaul and Michelle Visage, I would LOVE to be a guest judge on a future season of Drag Race! xoxo)

An Audition I Did

Chasing The George

Our teacher, Richard Lawson, recently assigned us to find audition sides, do a self-tape and then submit it to the casting director of that particular project.

I found sides from a TV series and quickly began using Richard’s technique
for audition preparation called The Subtees Process. I spent a total of five hours on The Subtees Process to create the product I wanted.

I did the audition in class and delivered my product. I delivered exactly what I had worked on during The Subtees Process. After the class watched my audition, our teacher that morning, the amazing Kelly Tighe, gave me my assessment. She started off with what worked about it and what I could fix in the second take. Here at the studio, the philosophy is “Find The Good And Praise It”. Find what works about it first, praise it, and then present the adjustments and fixes.

Kelly thought I did a great job. That I allowed myself to be seen. That I am a leading man. That I had no judgement on the character or on myself. I had no walls up and I wasn’t hiding: What you see is what you get. She clearly got my apparent event (what we think is going on in the scene) and the actual event (what is really going on in the scene) The actual event is where the character’s subtext and inner life occurs.

I identified and carved out the following apparent event:

I’m showing off my new restaurant space to a friend.

I identified and carved out the following actual event:

I’m actually in love with her.

Kelly gave me the following notes to work on for the second take:

  • In your moment before, what are you looking at? Be more specific with what you’re looking at and let it impinge you. What you were looking at in the first take was a little general. (I was looking at the restaurant space during my moment before, but it was general. I didn’t really see anything in particular.)
  • How does Jorge react when someone critiques him? (I ask the girl what she thinks of the new space and she uses general, uninspired words like “Very nice” and “Fantastic” I reacted well to her comments in the first take, but how do I really react?) What’s the sting for Jorge? In this way, the other character’s words land on me in a more personal way.

I repeated the take in five minutes and nailed the notes. My audition elevated to another level. In those five minutes, I kept what worked and added the new notes Kelly gave me. In my moment before, I looked at a cable that ran along the wall and I actually became interested in the yellow velcro ribbon tied around it. I also became interested in the screw that held the cable up against the wall. I really looked at these things and became interested. On camera, I looked like I was beaming with pride over my new restaurant space, but I was actually in love with the cord on the wall. That specificity helped me to create a stronger moment before. My eyes focused on something specific. It helped me to pull in the environment even more into the audition and to be more connected to it throughout the audition. The specifics of the environment enhanced my storytelling, my belief and my pride in the restaurant on camera.

When the character gave her reaction to the new space, I reacted as I would. So, it became more personal to me. In the five minutes I had to apply the notes, I looked at how I respond to critiques and how I respond when I expect a certain answer and I don’t receive it.

After the second take, fellow friend and classmate, Lindsay Hopper, said, “You were able to still be flirty with her…even though you were clearly affected by what she was saying, you had good-humored inflexibility in what you wanted to hear from her. But you didn’t make her feel bad about it because you clearly like her. So that was a subtlety you brought in the second take that I don’t remember you doing so much in
the first take.”

So, for your viewing pleasure, here is the second take of the audition I sent to casting:

https://youtu.be/IFdmuVLe70M

1st Quarter Assessment

Chasing The George

Four months down, eight more to go! The first quarter of 2016 is over and I am here to honestly assess my progress thus far. After all, I am my own business. As you may or may not remember, I wrote a blog entry back in January detailing my focus for 2016. I wrote:

Cristela Alonzo, Tyler Perry, Mindy Kaling, Lena Dunham, Jorge Ortiz: Self-generating artists who have carved a name and empire for themselves in Hollywood and in the world.

The above statement is a postulate. And a postulate is defined as:

A proposition that requires no proof, being self evident, or that is for a specific purpose assumed true, and that is used in the proof of other propositions; a self
evident conclusion, decision or resolution; a self generated truth, a prediction.

So let’s assess. Let’s see how I am Chasing The George and really moving forward with my postulate:

  • Met Cristela Alonzo twice…and we took two different selfies together.
  • Met a Latino TV showrunner for coffee and pitched myself to work for him.
  • Had a wonderful, hour-long conversation with a TV writer and received advice from him.
  • Finished writing the pilot script for my new TV series, “Anthony”.
  • Finished writing the third draft of my feature film script (where James Franco plays the villain) I have a title for the film, but I will keep it under wraps for just a little while longer.
  • Registered my “Anthony” pilot script with the Writers Guild.
  • Copyrighted my “Anthony” pilot script with the U.S. Copyright Office.
  • Registered my feature film script (where James Franco plays the villain) with the
    Writers Guild. 107 pages.
  • Researched a plethora of writing competitions.
  • Submitted the pilot episode of “Chris/Tina” to the Cannes Film Festival.
  • Submitted my “Chris/Tina” pilot script to the Back In The Box, Slamdance and ScreenCraft writing competitions.
  • Submitted my “Anthony” pilot script to the Back In The Box and Slamdance writing competitions.
  • Prepared and executed various postcard mailings, phone calls and email mailings
    to literary agents from CAA to UTA to Paradigm to Innovative to Heroes & Villains to Rothman Brecher, etc.
  • Manifested three direct connections to James Franco.
  • Promoted my work as an actor and writer on Facebook, Twitter and Instagram on a weekly basis.
  • Started pre-production on a short film with a handful of my friends that we will use to showcase our talents as actors and writers. We are shooting on June 5th and 6th. We are shooting on the Black Magic Camera. My role in this film is actor, co-writer and executive producer. Creating the evidence. Creating the evidence. Creating the evidence. And then promoting the hell out of it.
  • Launched my own personal website so that everything is centralized in one location.
  • Put up work in Scene Study and the Professional Development Program 2.0 classes and threw down to stay sharp as an actor.

1st Quarter Assessment: Pretty good! Grade: B

I gave myself a B because I flinched on an impulse in one instance and I accepted “no” too easily in another situation. Not following my impulses has cost me in the past and will continue to cost me in the future if I don’t honor them.

Accepting “no” too easily is also not acceptable. I have to use more charm, humor and irony to exhaust possibilities.

2nd Quarter Assessment and Goals:

  • Get laser-like with my James Franco project and move it further towards completion. I’ve created a timeline to accomplish this using Ken Kragen’s concept of backwards thinking with forward motion (Ken was a top manager to many of the biggest stars in the world)
  • Shoot short film with my friends and promote the hell out of it.
  • Cut trailer of my written works.
  • Shoot new headshots.
  • Be more assertive. No is not an option. Flinch is not in my vocabulary. The word “no” does not come into contact or agreement with my postulate. I must maintain dogged, unwavering belief in my postulate.
  • Follow my impulses.
Chasing The George

Are You In My Gang? (aka Building My Stable Of Muses)

The insanely-talented Justin Huen and I last night at a play he directed in Hollywood called “MINE”. I attended closing night and it was great to reconnect with him. One of the first things he said to me was, “When are we working together again?” (I had previously directed Justin in a pilot called “Chris/Tina” and he was amazing.) And he was very genuine with his question.

I promised Justin that we would definitely be working together again. In fact, he is someone I have bookmarked in my brain of actors I want to write for and work with on a consistent basis. Think of Martin Scorcese and Leonardo DiCaprio, Quentin Tarantino and Samuel L. Jackson.

I’ve been a big fan of his acting work for quite some time and it’s exciting to see him continuing to push himself artistically with another directing effort for the stage.

There are other actors I’ve bookmarked. Are you in my stable of muses??????

Stay tuned!