Acting in London Handbook

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Acting In London

http://actinginlondon.co.uk
Your Guide to Becoming a Working Actor in London
3
YOUR FIRST STOP
0.1 Reality Check
Stop right here. Are you saying you want to pursue a career as an actor? Are you out of
your mind? Havent you seen enough films and TV shows making fun of people who decided to
become actors? Its a horrific business. Youll be working long hours every day for low to no
pay; you wont be getting any health insurance, theres no stability, no safety, no life. You will
never know when your next paycheck is coming. This will last for years, and after all this
deprivation, youll have only a tiny chance to make a living from acting without the need to
have a survival job. Forget about making it anywhere near the top statistically, its impossible.
The closest you will ever get to BAFTAs is as a seat-filler.
No, Im not joking here. Arent there enough good-paying jobs out there for you? Are
you one of those I cant live without acting people? Seriously, go home. The reason Im saying
this is because if you had any idea what you are up against, youd turn your tail and run away as
fast as you can. Do you have even a slightest clue what it will take? Forget about those fairy
tales of overnight success, theres no such thing. These stories are made up by movie stars
agents and managers to make them look more appealing to the public. You will not be
discovered just like that, and you will have years of toil and bottom feeder jobs ahead of you.
After you get your first proper job as an actor, nothing will change, believe me. It will
take several more years of hard work, talent and dedication to move up into any meaningful
position in this business. If you are very lucky, by the time youve been in the industry for ten or
fifteen years, you might actually make enough money to pay off those bank overdrafts and
loans you ranked up in the past, and maybe save a few pennies a month. I personally know
actors over 60 years old who still cant manage to make the ends meet. But in the meantime,
youve been working so hard that youve missed out on all those little things your friends
outside the industry have been collecting: a house, a retirement plan, a family. Its those
components that make a regular person happy. You missed out just because you have decided
to blindly follow the siren song known as the Acting Dream.
It doesnt matter if you just graduated from secondary school or University. What
matters is that you can make a thoughtful, intelligent choice of becoming a lawyer, doctor,
business manager or any other respected professional that can make a guaranteed six-figure
income before youre even 30, and your parents will be proud of you. You can be safe, secure
and happily ensconced in your five bedroom house watching movies with your perfect spouse
and your 2.5 children. Why would you want to give that up for almost guaranteed poverty,
rejection and failure trying to make movies or pretend on stage for a living? What are you, a
minimalist beatnik? Those times are gone, my friend.
What the hell are you still doing here? Was that not enough of a reality check for you?
Youre really too stubborn for your own good. Or maybe youre delusional. Most likely, a little
bit of both.
Well, good. Because if, against all advice that I have just given you, you decide to pursue
a career in the industry of show business no matter what, that pig-headed foolishness will be a
critical personality trait. You will be told over and over again, directly and behind your back,
that you dont have what it takes. And the opposite will happen too: you will be told right to
your face that you are a magnificent actor, but then those backstabbing, two-faced liars will
steal your ideas, your part and never give you a real shot at anything. You have to be willing to
ignore all of this chatter and press ahead. Are you willing to?
One more thing before we start. You are about to get the benefit of a decade of
experience with a touch of cynicism, as you have already witnessed, from your fellow actors
that have been fighting some serious battles here in London, Los Angeles and New York City, all
succinctly consolidated in this handy and intermittently entertaining handbook. But heres the
deal: you will have to give back! If you benefit from the advice in this handbook, you must do
what every honest actor would, and that is to help the next generation of actors to succeed in
this wilderness of fakers, freaks and facades. Do so by sharing this handbook with everybody
you know; let them have that little piece of free advice and maybe they will find something in
here that will greatly benefit their careers, and possibly yours.
0.2 First words
Before we even begin at the beginning, our quick word goes to all those outside of
London anywhere in the United Kingdom, Europe, United States, Africa, Asia and other
continents. While we kept the major focus on the acting industry in London, this short
handbook will benefit anybody trying to find a way to break into the industry as an actor. All
you have to do is exchange the city name London for a different, full of entertainment, city
that is much closer to you.
Now, Im honestly very happy to see youve made it up to this point and that youre sure
about your future as an actor. But are you really sure? I mean really, really sure? Because as
glamorous and exciting as the successful actors life might seem from the pages of OK!
magazine, it is nothing like that. Well, maybe just a little bit. But mostly, as you will notice while
reading this handbook, the industry is all about frustration and heartbreak, and working your
ass off without any guarantee of even a minimal return of investment. The only thing that is
Acting In London

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going to sustain you through all this crap is love for what you are doing. So youd better be
pretty sure youre actually going to love it before you pack your stuff and jump on a train to
London Victoria. Fortunately, there are a few things you can do while youre still preparing for
your last exam or languishing in a boring, but stable post-graduation job that will give you a
better idea whether youll love this godforsaken industry enough to stick it out. Let me expand
on that.
If youre still in secondary school or University, then youre in a great position to get
critical insight by taking classes (if there are any) in drama and getting involved in relevant
activities. Go and do those school plays, participate in a University theatre production, and do
anything that is remotely related to you using your acting abilities. Audition for local student
films, work on schools or Universitys radio station, get into the community theatre, write
some of your own screenplays, monologues or plays. Even volunteering for local film
productions will help you to see how the actual filming set looks like, and how to behave there.
You can contact your local TV stations or radio stations and find out if they have any internships
or volunteering positions. Usually there are many opportunities around that you are not aware
of, you just have to be looking for them because they wont come looking for you.
If, after duly trying out at least several of these activities, you are more determined than
ever to forge a career in entertainment, then pack up that stuff and jump on that train (or a
plane, or a car, or a bus); Ill be waiting for you down here in London.
0.3 Is Moving to London Necessary
This one is a no-brainer YES! If you are interested in a career in film, television or
stage, then move to the best theatre city in the world and the center of entertainment business
of the United Kingdom. Sure, there are a few opportunities in Manchester with BBC North and a
few North-based film production companies that are making good movies once in a while,
some known theaters around the North side of the United Kingdom, Fringe Festival in
Edinburgh and so forth. But there is no denying that London is the epicenter of theatre, film
and television work, and the opportunities here are exponentially greater. My actor friend
moved to London after working up North for five years, and in just one year he received more
opportunities than in those five; he said theres no fudging way Im moving back North!
My advice has nothing to do with the Manchester vs. London rivalry. It has everything to
do with giving you the best chance at success. I cant tell you how many actors headed straight
for Manchester from their hometowns up North, only to realize after several years they should
have been in London all along. When they finally got to London, they essentially had to start all
over again. And the result is a critical loss of years in this youth-obsessed industry, especially if
youre pursuing a career in both stage and screen acting. Dont make the same mistake. Just
suck it up, get in your car or that train that I mentioned, and drive down south until you see a
thin tall building with a huge clock on it. Im proud to say that I was one of the few to make a
right choice and move to London as soon as I could. And if its of any consolation, once you
learn to accept the rushed and packed life of London (not as bad as youve heard) and the
parking issues (worse than youve heard), London is a very nice place to live. Just keep in mind
that you are going to be poor for a long, long time.
0.4 The Art of Survival
I have already mentioned that you must have an almost superhuman belief in yourself
to make it as an actor. However, this is not to say you should be immune to all the criticism. Its
utterly, extremely, absurdly unlikely that your first role and your natural acting talent alone will
be enough to make you the next Colin Firth or Helen Mirren. You will have to be humble
enough to realize that you have little to no idea what you are doing at that point, and clever
enough to figure out what you need to learn about this industry. I will touch upon this more a
little later. Stop daydreaming and take off those pink glasses; you dont have time for that
because you have to concentrate on becoming known in this city. But above it all, there are two
things needed to survive in this fierce market: persistence and hard work. Theres a common
saying about Hollywood that no one really fails there they just give up too soon. I believe this
could easily be applied to Londons industry too.
You probably heard quite often that for an actor, luck is a must-have, but that doesnt
really help you to get where you want to go, does it? Pure dumb luck occurs when you are
bumped into first class because of an overbooking and end up seated next to an up and coming
producer thats currently involved with a major production in London, and who happens to be
very chatty and very interested in helping green aspiring actors to make it in the business. And
unfortunately, I also cannot help you get that sort of luck.
What I can and want to tell you is that luck can be created as often as not, using the two
key elements already mentioned: persistence and hard work. What is that, you might ask. Well,
created luck occurs when you act in a play after play, pouring your heart and soul into making
even the tiniest role of yours to be entertaining and flawless, and then one time a big time
casting director attends one of your plays and gives you an audition for a recurring role in
Downtown Abbey based on the strength of your performance. By the way, this example is
drawn from personal experience of one of my friends; yes, shes on the show now. The same
created luck can happen if you network enough, if you go to a mixer after mixer and meet, and
engage everyone you can, and one of the people that you click with happens to be a
screenwriter who just started working with a major production on a new show of theirs.
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There is another very important element to so-called luck, whether the dumb kind or
the created kind you must be prepared to capitalize on that luck. You have to have an
awesome monologue ready; you have to have a great showreel prepared, and always carry an
acting CV/resume and headshots with you. This harkens back to critical factor number one
hard work.
Did you notice one thing that I left out of the important factors list? Its talent. Based on
what has been put out into the world of acting in the last decade, it should be patently obvious
that talent is not the most important quality for success. If youre looking for a meritocracy, go
to law school or medical school. This is not to say talent isnt important, however. But no
matter how much talent you have, you wont get anywhere without persistence and hard work.
Conversely, even if you dont have a lot of raw talent, persistence and hard work can still get
you pretty close to where you want to get. Of course, if you have talent and you work hard and
are persistent, you are in the best possible position.
And the last thing that will be necessary for your survival: network of support. You are
going to get discouraged at various points along your journey of becoming a working actor.
Make sure you make some friends on that path who believe in you and will encourage you. And
Im not talking about the connections discussed in the upcoming section. I mean the real,
honest-to-goodness, stick-with-your-ass-when-youre-down, keep-you-dreaming-and-
grounded-at-the-same-time friends. There are a lot of haters in this industry, more than you
can imagine. Surround yourself with positive, creative and open-minded people; this will help
tremendously in the times of hardships.
0.5 Last Thing Before We Begin
All the advice youre about to read in this handbook is based on the experience of my
own and other authors that are also writers on Acting In London, my friends and fellow actors;
its based on stories that we have read about or heard about, and everything that has gone
down before you come to this industry. It is high probability advice; that is, the best advice for
the vast majority of likely experiences. Remember that there will always be those few with
ridiculous dumb luck who will make it big within months of arriving to London. There will
always be those who seem to have everything going for them but never even make it to the
first step. There are as many stories as there are people, and there is no set path to either
success or failure. But if you follow the advice in these pages, you will get off to the best
possible start for pursuing an acting career.
I will not be touching upon the craft of acting, because Im not an acting teacher nor is
there a need for more books on this. Theres more than enough. This handbook is based on the
advice of solely the business side and the marketing side which is essential for an actor to
know. The craft is only fifty percent of it all; the other half is making sure people are aware of
your name and your presence in the city of London.

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THE BASICS
1.1 Pick a Path
If you think you want to do something in the entertainment or any kind of acting,
but you arent sure what exactly, stop right there. Dont make another step until youve figured
out what exactly is it that you want to do and what interests you the most. Do you want to be
on stage? Do you want to be in front of cameras? Do you want to be a comedian? Is it film work
or TV work that youre interested? Do you want to be a comedic actor, or do you consider
yourself the complete opposite of being funny? Do you write your own screenplays or plays
with parts for yourself? Do you want to do improvisation, or maybe commercials, or
corporates? Are you interested in voice-over work? Do you produce your own things? Do you
also want to be a filmmaker, or possibly a director instead? Do you want to do it all, or exclude
some of these paths? Youre going to have to make a choice here. It doesnt matter which one
is it or if its all of them. What matters is that you know exactly what you want, and you are
sober enough to understand how much more difficult its going to be to get anywhere in every
one of these fields.
In this business, pretty much everyone has to put in years worth of dues and each
branch of the industry has a different set of dues to be paid. So if you start out along one path,
and later decide to switch to another, there is a good chance youll have to step backwards.
How far you are going to have to step back will depend on individual situations. True the
experience from your first trip may have given you skills that are fully transferable, and thats
great because its not the same as going from being a plumber to being a film actor. But in this
business, credit for your experience in trip number one will not always be transferable.
What Im talking about here is an example of pursuing stage work after trying yourself
at stand-up comedy. People have done it and succeeded, but youre still going to have to put in
those early dues. And to make matters worse, the further you go along any of those paths, the
harder it will be to switch. Think you can follow all paths simultaneously? Think again. A few is
an advantage; all of them is a mistake. The dues to be paid along each path are long and
arduous if youre going to be working hard, and trust me, even fueled by espresso and Red Bull
mixed together (or any illicit substances), there just arent enough hours in the day. Dont be
one of those people. Be great in one thing rather than average in multiple.
Just like it was said over and over, this is show business and there are no rules for one
out of a thousand people. But that one person has to have incredible luck, or be the offspring of
some big shot producer. So for most of you, the advice is sound. Pick a direction and follow it. If
its just acting career that youre after then youre in luck our responsibility here is to serve all
kinds of actors as the title of this handbook states. However, that is not to say that any other
creative mind cannot apply the advice given here to pursuit of their career in the entertainment
industry; its all very close.
Therefore, before you go any further in your career, decide what it is you want to be,
and try as hard as you can to make sure you made the right choice for yourself. If you want to
be a stage actor, dont miss rehearsals because of commitments for your comedy classes; if you
want to be a screen actor, dont get onto a play tour of half a year. If you want to balance both,
its possible, but its going to be tough. Remember that entertainment industry loves youth
above all else, so you never want to waste a day if you dont have to.
To make this decision, read at least a dozen books regarding those paths youre
considering, and talk to as many people as possible who are pursuing their dreams along those
paths. Then take a bunch of classes, go to places like Cornwall or Lake District to be with
yourself for a moment and think, consult your spiritual leader, do some yoga, talk to your family
and friends, do anything else you think might help, and then flip a coin. Well, dont really flip a
coin, but decide; and once youre totally committed, pursue that path or a few of them 100
percent until you completely fail or completely change your mind.
By the way, dozens of books was not a joke. Check out the books we recommend on
our website, you can get them either in your local library or if you have an extra penny, buy
from Amazon. Read them all and really understand, really learn what they explain. How long
will this take you? 40 to 60 hours? Youll be working at least that much each week in the
industry. Maybe even for the rest of your life. So consider this reading assignment your first
week on the job of being an actor; you just wont get paid for it. This is an easy edge you can
get over the multitude of uneducated ones against whom you are competing. Youve already
made the first smart step by reading this handbook, which will put you slightly ahead of your
fellow actors. Youre an actor, for Petes sake, so do your homework!
1.2 Initial Steps
I know that I have already busted your chops in the very beginning of this book about
how hard it is to become a working actor. Now as we went through some additional
information on the business, I would like to quickly remind you of that. No one in the
entertainment business has it quite as rough as actors. The reason so many of them are so thin
has nothing to do with aesthetic standards its because they cant afford food. Feature film
writers may be at the bottom of the totem pole, but at least they dont get rejected just
because their breasts are too small, or their face is the wrong shape, or theyre too short. Yes,
actors pretty much have a raw deal. This looks obsession is more popular in Los Angeles and
between screen actors, but it gradually transfers itself to London and onto the stage too. So if
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11
you insist on trying to be the next Brad or Jen or Jen or Ben, well, all I can say is, its kind of your
choice. Hopefully the following section, among the longest in this handbook, will get you
through alive.
While there are a few different points along an actors path that could be dubbed the
first meaningful step, until you have had a significant speaking role with enough screen time
in a major indie or studio film, or a recurring role on a television show, or are getting enough
commercials and bit parts to eke out a reasonable living, your life is going to be a constant
struggle of auditions, classes, schmoozing, and primping. Certainly a significant initial step will
be to get a manager or agent, but getting one will not guarantee you roles, just as not having
one will not necessarily prevent you from getting roles. Moreover, while a manager is
something youre able to get somewhat easily, but not necessarily need to in the very
beginning, getting a good talent agent that will get you into rooms of important auditions will
be a challenge. So my advice focuses on a two-pronged attack, focusing on getting roles
without an agent or manager, while continuing the search for one.
When you get to London, chances are you wont have any representation, you wont
have much of a credit on your resume and you probably are not in Equity and not on Spotlight.
In this case, youll be starting from square one. So your earliest steps will be focused on finding
and taking any role that comes along, paying or non-paying, both to build a reel and to try to
generate visibility and heat, until you finally catch the eye of someone who can get you that
breakthrough role. Heres what you do: perform in any plays you can get into (but preferably
plays that have a shot in hell of being seen by more than just friends of the people in the play)
and audition for student films (London has one of the best student filmmakers scenes in the
country).
And above all network, network, network. Get into various organizations and groups
like Surviving Actors, follow news and events from Equity and stay on top of updates from
Acting in London website. If you can afford it (and since youre an actor, you probably cant
unless mom and dad are helping you out), or if you manage to find a paying job with flexible
hours, another good option for networking is to try to do an internship at a small casting office,
management company, agency or production company. Aside from expanding your network,
such an internship will also give you an inside view of how these places work, and more
importantly, how this business works for actors; more on this later.
1.3 Acting Classes
Right now, Im going to assume that you have either graduated from drama school or a
University, or that you decided not to go to one. If you are currently in training at a drama
school, just put down this handbook and leave it until you graduated. You wont have the time
or the energy for this; plus, you definitely need to buckle down on your training and grades.
Based on the scenario of you not going to the drama school or that you have just graduated, I
will now advise you how an actor can approach the situation of being a new face in the city.
So, while youre doing all of this schmoozing and auditioning and interning in the huge
city of London, youll also need to think very seriously about taking acting classes. This is a
whole other scary world where money seems to disappear overnight and hacks abound.
Fortunately, you have me to straighten you out.
First, research, research, research, for a month or two until you are sure what class best
fits you, and not who you think is the best name for your resume. Find a class that meets every
week, and that guarantees personal attention from the instructor. Your acting teacher should
be a mentor who can guide you and help you understand the artists lifestyle. Choosing the best
teacher for you is a very personal process and it may take you years to finally find the perfect
fit. You can also find the rundown of all acting classes and acting teachers in London on Acting
In London website.
1.4 Headshots
A headshot is a professional 8 x 10 photograph of you. In the US market, a headshot is
exclusively in color, but in the UKs market, it should be black and white, however, it seems that
the changes are coming onto our land, too. Very slowly, people are switching to color
headshots, which is a very positive change. Casting directors use headshots to decide if you
have the right look for the part. If they dont like your headshot, you wont even get to
audition. Consequently, if you call yourself an actor, you must have a headshot. Its that simple.
Without a headshot, you wont be cast unless you know the filmmakers personally and maybe
not even then. And no, your friend cannot take a snapshot of you to be your headshot. Youre
reading this handbook to stop yourself from making amateurish mistakes, right?
So while youre networking and taking acting classes, ask for recommendations on
photographers. Before you settle on one, take a look at his or her work. Make sure the style
suits your taste. This is your business card so it should represent you favorably. Also, note
whether everyone looks the same in all the photographers pictures. If they do, dont use that
persons services. Some of the most expensive photographers in the city who get a lot of hype
do that, and after you spend 500 on pictures, you have something that looks good, but that
looks like everyone elses headshot and does not show off your amazing and unique
personality.
Using black and white headshots in the 21
st
century seems a little outdated, but we all
have to follow the trends set by casting directors. Nevertheless, let me tell you why black and
Acting In London

13
white headshots are in disadvantage against color ones. For a headshot, it is critical to capture
your true personality and essence of who you are; its not about a retouched, perfect face;
youre trying to be an actor, not a model, and theres a huge difference between the two. Its
very difficult to do so when the headshot is black and white. This is why smart actors now
always carry both versions of the headshot, and also use them both on their online casting
profiles.
When you have found the right person to shoot with, a good photographer will fill you
in on the dos and donts in terms of clothing, hair and make-up, but as a general rule make
sure to do your hair and make-up as you would normally look. You want to match your picture
when later you walk in the room to audition. Dont try to be prettier than you normally are, or
pose as a character this is considered unprofessional. Go for one commercial shot (smiling)
and one theatrical shot (soulful) at the bare minimum.
You can find a photographer that can do a decent job in London for about 200. I say if
anything less than that, then you have to make sure that they definitely know what they are
doing. Headshot is not a portrait, and youd be surprised how many photographers dont realize
that. Also, dont pay any more than 300 for a session. Its not worth it.
After the shoot is over, theyll make a contact sheet so you can see mini versions of
the shots and/or give you a disk. You pick your favorite shot(s) and pay to get that retouched
and maybe some prints. Then you go and get yourself about two hundred copies of that stuff,
and always carry around some with you like a bible. You never know who you might
accidentally bump into.
1.5 Background Work
People doing background work are known as extras. Listen closely theres only one
reason why you would want to work as an extra. The reason is to see how a set works and what
itll be like when you have an actual acting role. Try a day or two on each type of set: film, hour-
long episodic television drama, and comedy based show. Each has differences in the way they
work that are worthwhile to know before you chase after roles (plus, youll probably find it
fascinating as you start off). The shine should wear off pretty quickly though, and if you spend
any more than a few days or a month, youre just wasting your time. You dont earn much,
youre treated like mindless cattle, and most people doing it have nothing else going for them
in life (on the other hand, if you need to research a role for a psycho-killer, its the perfect place
in the US, background work is one of the jobs on the list jails hand out to ex-cons telling them
where they can work without a background check).
What did you say? Discovered on a set? Oh please, I thought we already settled this
matter in the first page of this handbook. You will not be discovered while doing background
work, not even if youre a stand-in. Background work is a dead end, its not acting. Sure, youve
probably heard that old legend about some extra who was asked to say a line, but it probably
didnt happen and even if it did, its not going to happen to you. Brad Pitt tried all sorts of tricks
to get noticed when he used to do background gigs none of them worked, he never got
discovered that way. But above all, if you spend your time doing a lot of extra work, you wont
have a life outside of it to do all of the important things you need to do for your true career.
Call times for extras are usually very early, like 6 a.m., and go well into the night,
sometimes even 11 p.m. or 12 midnight. Or even worse, a lot of films do night shoots that
require you to be there from 11 p.m. until 11 a.m. Unlike the actors who get to come and go,
youre there the whole time, and you dont have a cushy trailer to relax in. Youll be sitting on a
folding chair during downtime if youre lucky. And they expect you to provide your own
wardrobe and make-up most of the time, so figure another hour dealing with that, unpaid, at
home.
1.6 Casting Calls
Casting calls, castings, or casting listings or sometimes casting breakdowns (in the US)
refer to the industrys websites that provide real-time publication of all open castings job
positions for actors to submit themselves online. In the United Kingdom market, the biggest
and most reputable website where experienced actors submit themselves for jobs is Spotlight.
Since everything these days is Internet-dependent, casting offices and talent agencies
do the same thing. An alternative to online submissions using casting calls is mailings; however,
these are only done on two occasions. First, submissions for a particular bigger part that you
somehow got information about and know the address of the offices that are casting. Second
occasion is mailings of your headshots and acting CV/resume to talent agents in hopes to get
invited for a meeting. You can read about this process in more detail on Acting In London
website; now, back to online casting calls.
There are three kinds of casting calls: 1) ones that are intended for the eyes of agents
and managers only who must register and prove their business to get access; 2) others that are
more open and available for anybody with a paid account on one of the reputable casting
websites; 3) and those named open castings, where anybody can submit or usually come in
and audition to where these are taking place.
The first type of casting calls is the most valuable as this is where big films or stage
productions are looking for talent. If youre not signed with a good talent agent, there is very
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little chance that you can get access to those. However, if by any chance you do, these calls are
great not only for submitting yourself, but also to see what is being done by whom, who the
busy casting directors are, and what sorts of roles are frequently available. When you are more
settled in the city of London, you can use this to follow producers, writers, and directors, and
start mailing directly to them. Its very difficult to get access to these calls, and this is the
number one reason why most budding actors are trying to find a talent agent.
If, thanks to some mystical powers, you do get access to these very special casting calls
without having an agent, know that television and commercial submissions must get to casting
offices the day those calls come out or youve missed the opportunity to be called in. Casting
for those projects happens in less than a week, so they start seeing people the day after the
openings go online, if not the same day. Dont try to drop off in person, which can be a big
waste of time, and try to use a fabulous delivery service instead. These deliver your stuff the
very same day just like the services talent agents use. Films submissions can be sent through
regular mail (but drop it in the mailbox that day if you can. They are often cast over a couple of
months.
If its possible, call the casting office when you see a specialized part (i.e. an unusual skill
or look that they will have a hard time finding) for which you would be perfect. More often than
not, they will want to meet you if you might be the solution to their casting dilemma.
There are people out there posing as agents or managers for their friends to submit
them for auditions. You can try it, but its risky. If you and your friend get caught, you can get
into a big legal trouble.
1.7 Casting Directors
Casting directors are perhaps the most important part of the process before youre
established in the city, therefore, much of your existence should be geared towards
impressing them and getting them on your side. They are the ones to whom your agents send
you to and who decide either to give you the job or not. All auditions with CDs are critical
even if you do not get that particular role, the casting director may remember you for future
roles (assuming you made a good impression). There isnt much else to say about these people
aside from the fact that you should always try your best to maintain a good working
relationship with them. It will definitely pay off one day.
As for submissions to CDs without having an agent, keep in mind that casting directors
tend to move with every project, so its a bit of a chore to keep track of them for mailings. That
means youll have to get your own database (a nightmare to keep updated) or just forget about
this widely unpopular idea. The reason this practice is close to being useless is because a lot of
what you will mail out is going to be returned when you do large, unsolicited mailings. Other
part might get chucked into the trash bin without even being opened, as not every casting
director likes when actors send their headshots directly and not through their agents. If you still
want to do this and have all the necessary contacts, make sure to put some thought into what
casting people you include in your mailings, personalize it all so that you wouldnt completely
waste your money.
1.8 Casting Directors Workshops
Casting directors workshops are forums in which actors pay to meet casting directors
(CDs, as the Internet calls them) who might potentially cast them in their projects. The
controversy should immediately become apparent: isnt it a bit crooked for casting directors to
take (lots of) extra cash from desperate, penniless actors, just to do the very job directors,
producers and studios are paying them to do in the first place i.e. find new talent? Youre not
supposed to pay for auditions, yet arguably thats all these workshops are paid auditions.
And to top it all off, while the casting directors themselves are usually fun people, the other
actors pretty much kill the buzz because they tend to be highly competitive and needy, seeking
attention in whatever way they can during the sessions.
On the other hand, some argue its awfully nice of these overworked and underpaid
casting directors to spend time helping actors even after their long day is done. Where you
come down on the debate probably depends on your general worldview.
Still, you can absolutely learn something from these workshops (other than cynicism),
and it may be valuable to do one or two just to take the intimidation factor out of dealing with
CDs. Workshops tend to focus on comedy/improvisation material, and the CDs make these
evenings as light as possible (for their own enjoyment as well as yours).
Keep in mind that casting directors are not acting teachers. Know what youre buying. In
this case youre pretty much only getting access and very little legitimate acting advice. If
youre going to part with big chunks of hard-earned cash to learn how to act, pay it to a highly
respected, knowledgeable teacher who has made it their lifes work to find a way to
communicate with actors about furthering their craft and technique. Some CDs have stellar
training and backgrounds in acting, and indeed are excellent talent scouts, but others came to
London without any education and with no training in any vocation and somehow ended up
casting. Most casting directors advice on your acting should be taken with a grain of salt; youre
there strictly for the business, not the craft.
Some of these places offer agent or manager workshops as well. Stay away from these
programs. While many casting directors who do workshops are actually legit, even prominent,
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the managers and agents who hold workshops are solely third tier people that you probably
dont want to meet anyway. They certainly arent worth paying to meet. And besides, you can
meet these people for free or nearly free in a zillion different ways (i.e. as guest speakers at
Surviving Actors, through schmoozing, showcases, and through good old fashioned requests
for meetings). As you begin your journey, youll be getting emails from agents and
managers who will promise to represent you, but first youll have to attend the workshop
(usually around 100). Dont do this; more on this later
The allure of the concept of casting directors workshops is understandable. CDs are the
gatekeepers to the producers and directors who can make your career, so you want access to
them. But for most people, attending these workshops will not be nearly as effective for getting
you where you need to get as all the other tactics weve shared with you. If theres nothing that
distinguishes you from all the actors these CDs see all day long at work actors sent to them by
A-list agents, actors with better credits, etc. they will not go out of their way to call you in
from a workshop. On the other hand, if theyre casting a Sumo wrestling film and havent been
able to find an actor to play the part, and youre a 400-pound Asian man attending a workshop,
youll probably get your lucky break. But then again, you could have found that specialized role
if you were submitting yourself to casting calls at home and just contacted the CD directly,
without all the added expense of the workshop. So there it is again. Spend your time and your
money as wisely as possible both are in short supply.
In the end, its up to you to decide whether to attend or not. Just dont say I didnt warn
you.
1.9 Equity
Equity is the trade union which represents those who work in the entertainment and
arts industries in the United Kingdom. It represents not only actors but also dancers, singers,
choreographers, backstage artists such as stage managers, designers and directors as well as
walk-on and supporting artists and stunt performers. Equity is not political but it is affiliated to
the Trades Unions Congress as a means of bringing performers' issues to a wider audience.
The main function of Equity is to negotiate minimum terms and conditions of
employment throughout the world of entertainment, including new and emerging technologies
which affect performers satellite, digital television, and new media and so on. An Equity card
is still regarded by many to be a proof of commitment and professionalism, and if you are a
member you can often negotiate a better rate of pay than a non-Equity member. Many
employers still choose Equity performers over non-Equity, although a card is not essential for
some areas of performance or working in the arts industry.
There are a number of ways you can join. You can pick up an application form from any
of the regional branches, or order one through the feedback form on the Equity website. There
are a number of different memberships depending on your situation, and the main ones are
listed below.
Student Membership: You must be on a full-time higher education course lasting for one
year or more which is preparing you for work in the entertainment industry in one of the
following areas: actor, stage manager, theatre designer, theatre director, dancer,
choreographer, singer, variety artist, circus performer, professional broadcaster.
Long Service Membership: You must have been in Equity continuously for 21 years or
more and be over 65 years old.
Youth Membership: You must be aged between 14 and 16 and performing
professionally, earning at least half of the adult rate for the job in question. If you are under 14
you cannot join Equity at present.
Full Membership: Membership of Equity is available through work in areas like: theatre,
television, film, commercials, radio, opera and dance, singing, variety and circus, walk-ons.
Equity subscriptions are based on previous tax year's gross earnings from professional
work. In addition, there is a one-off joining fee of 25. Prices vary depending on what package
you are eligible for (i.e.: student, youth, long service or full membership). You can always go
and take a look at their website to learn about this union, all the services and benefits it offers:
www.equity.org.uk
Joining equity is highly recommended for every performer in the United Kingdom, as
aside from all other benefits this membership comes with, Equity union is there to protect the
rights of artists in this country. If youre an Equity member and you have an issue with your
employer regarding payment or working hours, you can always call your union representative
and they will advise you on what action to take. If the matter is more serious, the union
themselves will take actions to sort out the problem.
In the United States, they have different unions for different types of performers: SAG-
AFTRA, AEA, AGVA and others.
1.10 Managers and Agents
Aside from becoming a member of the Equity union, putting together a showreel and a
solid acting resume, and honing your skills in class attracting an agents and/or managers
attention is a matter of just getting out there and doing the groundwork. There are several
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time-tested ways to get the attention of managers and agents. Obviously, acting in a very
successful play or an indie film that becomes a film fest phenomenon and gets you some good
reviews and buzz, would be ideal. But that isnt going to happen all that often, especially now
with all those household names stealing the good indie roles and the studio-ification of
independent films.
Networking, networking, networking is still the best way to eventually get somewhere,
assuming you have the necessary look and/or talent. In fact, networking is so critical that any
other method you use to attract agents and managers should supplement networking, and
never replace it. Other methods for attracting agents and managers include referrals (an
outgrowth of networking), cold mailings of headshots and resumes that we have already talked
about above, and mailing/emailing invites to your shows. More details on every one of these
practices you can find on Acting In London website.
Some print and modeling agencies will only sign you if you take their classes or get
headshots with their people. This is very wrong. If youre approached by any of these agencies
asking you to pay anything in advance, run away. This is not how reputable agencies work.
Theyre not serious about you and are trying to take your money. Money you dont have.
1.11 Nudity and Other Things
Dont do nudity. Not until you are an A-list actor, and even then be careful about how
much you want to show. If you do nudity once, you will forever be labeled as someone willing
to do nudity. From the first yes on, producers and directors will pressure you to strip down on
every project youre hired for. If you abstain from the beginning, it is much easier to negotiate
yourself out of nudity for the rest of your career. And if the dozens of stories on the
entertainment pages havent made this clear already, this will come back to haunt you.
Do not do revealing sex scenes for anyone other than an A-list director in a big budget
movie. Use nipple covers and crotch patches so that if the shot is wider than they tell you it will
be (accidentally or on purpose), they wont be able to use it. Do this even if you know and trust
the director. If he/she says those parts wont be seen, then theres no harm in covering them
up just in case, right? Definitely stay away from the soft-core porn and late-nights, even though
its a paycheck. Get a job as a waitress or a waiter instead. Otherwise, the next thing you know
youll be stripping and then working as an escort and then... Well, you know where this is going.
1.12 Showreels
When paying someone to compile and edit a showreel (demo reel in the US) for you,
always check their previous work first. Try to stay away from MTV-style editing that shows off
the editors work, not yours. You dont need all the flash they can get you; what you need is
exposure of great performance. Dont get sucked into something overly complex, which will
also needlessly increase the costs. You can try to find a friend of a friend whos an editor and
who can do it at home for you super cheap. Keep it simple to show off you; just two or three
conversations that show off your talent, not a dizzying montage. It should be under five
minutes, ideally three to four and look professionally done.
Ive seen so many unprofessional looking showreels displaying parts of bad acting that it
would benefit an actor to actually take that video off their casting profile. Make sure you put
the best parts in the very beginning, dont leave the best for last. Agents, managers and
casting directors go through many of these and a lot of the times they are not interested to
watch the whole showreel till the end. Therefore, you have to guarantee yourself an
opportunity to expose your best work within the first minute of that video. No recorded
monologues, no bad quality stuff and no phone-recorded material. Dont make yourself look
like an amateur; its always better wait to get some decent content and edit it then.
1.13 Your Website
Set up your own website. Its a great tool for promoting yourself to people you meet
and hand your business cards to because they can easily access your headshots, resume,
showreel, biography and any other promotional stuff. Its also perfect for submitting yourself to
student, non-union, and other projects that permit submissions online. Another neat feature is
that you can track the spike in website hits following a mailing process to agents and managers.
1.14 Showcases
One thing you can do if you arent getting the exposure you want is to do your own
showcase. You dont have to graduate drama school or buy a theatre just get an opportunity for
one. A showcase is a series of scenes selected by an actor, put up in a theatre with very sparse
props, with post-show food and drink provided. Its true that this is mostly done by graduates of
Universities and drama schools, but who says that you cant get together with your fellow
actors and do the same? You can pay the producer or the director to participate, and in
exchange the producer/director promises to get industry people to come see the show and to
provide a typed list of who attended after. Attendees usually do not need to pay anything, and
you must provide food and drinks for them stored not too far from stacks of your headshots
and resumes.
Showcases are a reasonably good option if you are not having luck auditioning for full
productions, if you dont have a lot of stage experience and need to build your resume. They
are also worth it if you have already met with an agent, manager or a casting director who is
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very interested in you and wants to come see your work. Showcases are also an opportunity to
meet other actors. But theyre a waste of money if you already have real theatre credits or
decent representation, especially given that most showcases are mediocre or downright bad,
and few producer/directors will actually get any industry people to come to the showcase. In
other words, do it in the beginning of your acting career to speed it up.
If you do a showcase, stick to the one produced and/or directed by a coach or teacher
you or your friends know, so you have some assurance of quality and attendance. Even better if
they audition participants or have some exclusivity that will promise both you and your
audience quality. Dont forget to have your resume, headshot and business cards ready. Take
advantage of your having your own website and promote your show over there.
1.15 In Addition
So now youre taking acting classes, auditioning, mailing to agents and maybe even CDs,
doing plays, and perhaps even producing some of your own plays or short films. What should
you do with the rest of your time before your big break catapults you right onto the A-list?
Aside from sleeping, eating, and bringing home a paycheck, you should be spending your extra
time learning more about the business! This is a super-competitive industry and there is always
someone smarter, more knowledgeable, better looking and more talented than you. Dont
waste your time watching TV when you could be doing something to sharpen your competitive
edge. Keep an eye out on daily updates on Acting In London website as there is always some
useful advice regarding the business side of acting.
Take classes in other areas of the industry such as directing, producing, writing, etc.
Intern or volunteer as a reader for a casting office, agency or production company. Get out of
London and do something different, such as a summer or season of theatre. If you can afford it,
try going to New York or Los Angeles for some great training. You can try French theatre
training if the trip to the United States is not an option. Try to volunteer for some film festivals.
Those of you with big hearts can volunteer in programs that offer free theatre, or free
acting and writing classes to disadvantaged, foster or disabled children. Some groups travel
with shows to foster homes, hospitals and so forth, especially during the holiday season. Others
offer classes to children whose parents cant afford after-school programs. There are also a lot
of programs for reading to children or to the blind, which is great practice for storytelling,
especially for people interested in voiceover. All of this is not only great for your soul, but a
great way to practice your craft. Plus, the people volunteering with these programs are usually
great contacts for your career. Everyone wins!
1.16 Scams
With so many people desperate to find an edge, entertainment business is a fertile
ground for scammers and con artists who are amazingly adept at parting actors from their
pennies. Heres a sampling of scams to watch out for.
Online Scams
There are several websites that ask for a fee from actors to post their headshot and
resume, but no one in the industry uses them. If you visit these websites, youll notice most of
the people posted dont live in London, i.e. they dont know any better. Film and television
roles are still cast based on physical headshots or known names. Commercial casting uses
online systems since they move very fast and care more about looks, but they use systems on
which only agents and managers can submit their clients, not ones where any average Joe can
join.
Some websites that are half legitimate not total scams but just a waste of money
have set up systems for actors to submit themselves for specific projects posted on the site. But
these usually include just a few projects listed, and the rest of them are poor 1
st
year student
films. Same goes for those background work websites, like Extras. Weve talked about that
already you dont need it.
False Project Scams
Never pay to be in a film! If you audition for something and later they tell you that you
have the part, but that theyve discovered actors do a better job if theyre financially invested
in the project, or later say their financing just fell through, and they need everyone to help
pay for the project if its to be done, walk away! Even if they have an office on a studio lot:
these offices can be rented by anyone trying to put on a good face. This is a very common scam,
so watch out because the people who pull it will make you believe they are genuine struggling
filmmakers.
Remember that filmmakers and producers of the project are responsible for raising the
money, not you, no matter how desperate you are for a role. Even if you have been guaranteed
that the project will happen and youll get material out of it for your reel, dont do it unless the
project was advertised as a showreel production class. If they falsely advertised it as a film
project, call the editors of the publication of wherever you saw the listing and let them know.
We need to work together to eliminate any kind of scam out there.

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Manager Scams
Ive already mentioned this previously. In the United States, it is illegal for agents and
managers to ask for upfront payments of any kind, and its strongly regulated. Unfortunately, in
the United Kingdom, our union isnt strong enough nor does the government care as much
about their actors to look out for them more. Nevertheless, remember that the only money
agents and managers make should be from work that they get you, or that you got while being
represented by them (10 percent for agents, 10 to 15 percent for managers). A common scam
is for someone posing as a manager to ask for submission fees from new actors. They will
claim that theyre taking a chance on you, spending their money on materials to submit you,
and that you should help cover those costs while they get your career started.
This is wrong, no matter what real work the person may have done in the past. They
might also ask you to attend their workshops to see if youre what they are looking for; and
those workshops are paid, of course.
Some of those so-called talent agencies that ask you for an upfront fee will actually
sign you after you pay or attend the paid workshop, and will represent you, kind of. However,
all they do is submit you using the same casting call services that you yourself could have used
sitting at home with your laptop on the table. The more time you spend inside of this cruel
industry, the more experience you will gain at recognizing all sorts of scam or people
misrepresenting themselves; you will learn how to smell them from far away.
Contract Scams
If you are signing any kind of contract, be sure to have a lawyer look it over before you
do, no matter how legit the person seems unless they already successfully represent someone
you know well. Dishonest agents and managers have been known to include ridiculous
conditions in actors contracts, which unsuspecting (or nave) artists sign and agree to. Its
worth the 100 or so in attorneys fees to ensure that you dont sign away your life. Take it as a
serious matter.
1.17 Be Smart and Safe
I know Ive been a bit irreverent up until this point, but Im going to slip into mom mode
for a minute. Be careful out there. I meant it when I said actors have a raw deal. You hear
stories about young women being murdered after being lured to a fake audition by a man
posing as a producer and offering them an audition for a movie. In Los Angeles it happens
enough that their former SAG union has published a safety handbook for every actor to go
through. Unfortunately we do not have anything like that from Equity, but we have our
common sense. I dont want you to be alarmed, and I dont by any means want you to live
your life covered in fear. But I do want you to be very careful about the situations you put
yourself in, especially if you are a woman, submitting yourself to projects through online casting
websites. So here are some tips to keep you safe.
Two Must-Have Books for Women
1. A Girls Gotta Do What A Girls Gotta Do by Kathleen Baty. This is a practical advice
with tons of resources where you can get more information for specific situations. Every
woman and girl should read either this book, or try to find something similar if its not available
any more.
2. The Gift of Fear by Gavin de Becker. Hes an expert on violent behavior and spotting
danger signals, and teaches you how to listen to your instincts. Hes also a coach to celebrities
who deal with stalkers.
Never let your guard down
1. You should never be alone with one other person when auditioning or shooting. If
you show up and its just the director, leave. Even if he seems like a nice harmless guy, dont
take the risk. Its obviously a bad project not worth your time if he doesnt have even one
person helping out.
2. You should never audition at someones house or apartment. Filmmakers know this
golden rule, and there are free or very cheap spaces they can get around the city, so they
should be using those. Occasionally, such residential auditions will be safe, but dont take
unnecessary risks. If you go to one, leave if there are not several people there conducting the
audition, signs outside the apartment entrance, other actors and so forth. Avoid hotels at all
costs.
3. Be wary if you are auditioning in an isolated location like a warehouse in an industrial
park. Leave if you feel scared or awkward; your instincts are probably right. Thats why its
handy to have a smartphone with GPS and always-on Wi-Fi; and before you leave home, make
sure you are going to a safe area. A project with a bad script, production values and sound is
not worth the risk to you.
4. Youll hear this everywhere, but just in case you havent heard it yet: there should
never be any stripping during an audition, even if nudity will be involved in the role. Every
audition also has a strict no kissing and no inappropriate contact unwritten rule, with nobody.
Sometimes you will end up kissing the other actor in the scene at callbacks, but that is your
choice and you should leave if they pressure you to do more than you feel comfortable with.
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You should not have to test out your chemistry by doing that. Never. The actual contact
should only take place after youve got the part and are legitimately performing.
5. If someone approaches you at a pub, store, in a restaurant, on the street claiming
to be a successful director/producer/executive or other member of the industry, but is not
someone you or anyone else knows, do not meet up with them alone until you have verified
their credentials and/or place of work. Not to alarm you, but other women have gone missing
with men who misled them in this way; men are very skillful at name-dropping and assuming
industry attitude. Always ask for their business card (if they are what they claim to be, theyre
going to have one). If you have any suspicions or concerns at all, investigate the person online;
call up the agency or company they are supposed to be working for to find out if thats really
true. Also, try and bring a friend with you to your first meetings. Make sure that your family and
friends know whenever you have a meeting of this type, and where are going for it.

A FOOT IN THE DOOR
For most, working in London means some menial job to make ends meet while
simultaneously pursuing your chosen career path in the industry. Sure, working at Costa is an
option, probably not a terrible one. And the old standbys, waiting tables and tending bar, still
give some of the best short-term returns. But there are a number of reasonably attainable jobs
in the industry that will not only help you with the bills, but will also get you started in earning
the real currency in this industry contacts. You should always have your eyes on the prize.
2.1 Internships
As we have previously discussed, getting a survival job or a volunteer position as a read-
in in a casting office, or assistant at an agency, is a pretty sweet deal in that you can see how it
all works and also make some connections while youre at it.
If you are lucky enough to have some savings in the bank, or extremely supportive
parents who can afford to pay your expenses for a few months, a good way to get your foot in
the door (and to get the experience those assistant jobs keep demanding) is to do an
internship. Unfortunately, some of the best internships at the largest companies are limited (for
legal reasons) to enrolled students. (So those of you who are still students grab these while
you can!) But there are still some internships available to non-students. Many smaller
businesses are either exempted from the laws binding larger companies and/or are willing to
work around that law by setting up just three or four hours a week for you to come in. That is
just perfect for your busy schedule (it is busy, isnt it?)
Some of the job lists floating around the city have sections listing available internships.
You can also just contact production companies, management companies, talent agencies,
specific productions or other smaller operations and ask them if they are looking for volunteers
or interns. (Heres a trick for you: in order to get in touch with a specific television show to ask
about interning, contact the studio that produces the show. They will usually either forward
your call to a specific show or give you the phone number for the shows offices.) If you are still
a student, check with the Universitys Career Planning department for opportunities, although
back in the day those were pretty useless.
2.2 Temp Agencies
There are some temp agencies in the city that specialize in placing people in industry
jobs, usually at talent agencies. A lot of people have gotten their first permanent jobs by being
hired on as a temp and then kicking ass. Get your basic skills up (typing, software experience,
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etc.) and call them up. Youll probably have to take some tests and if youre good you will get
plenty of temporary work. Once you get to your temp assignment, you should do everything in
your power to impress. After a week of being the perfect employee you can start bugging
people for tips about the industry.

AN ACTOR IN LONDON
3.1 First Meaningful Gig: Part 1
This chapter can also be titled Solving the Catch-22 of How can you get a job if they
require experience, but you can only get experience by having a job? But I thought it was a
little too long.
Its going to take a long time before you get the first meaningful job as an actor. Of
course, it depends what you consider a meaningful job, but for the purpose of this example,
lets say something like a lead role in a small independent film with little budget. It will be years.
Just to take that first real step. Before that, youll be languishing in some boring survival jobs in
London, getting small parts in student films, earning the minimum amount per week a person
can earn in this country. And thats if youre one of the lucky ones. The unlucky ones will be
working somewhere miles away from the city, where theres no real opportunity to meet
anyone from the industry, bottom rung or otherwise.
Thats why this chapter is titled First Meaningful Gig. The hard part isnt getting some
job, or even some job vaguely connected with the industry. Its getting the first job that is a true
stepping stone in your chosen field, with real opportunities for advancement and exposure.
There are three main ways to get that first meaningful job: 1) Luck, including dumb luck;
2) Nepotism; and 3) The Standard Path. Ive already talked about luck and nepotism in earlier
sections, and those principles apply here. The bottom line is, you cant count on a number one
and you already know if you can attempt number two. And if you could, then you might as well
just throw this handbook out (or click Close because youre reading it in your computer).
Most of you are going to be stuck following the third path of an actors career, and that
means youre really going to have to work your ass off. Youll be competing with thousands of
other people for even the crappiest little parts, and its going to be really tough to distinguish
yourself. That pretty much epitomizes the living experience of an actor in London. But its not
all bad news. There is one factor working for you: most of the competition is stupid.
The following chapters discuss the Standard Paths for the key creative opportunities and
tips for getting on the path to that first meaningful acting job in your chosen career. In each
instance, the goal is to keep at it, work hard, and make the directors happy with your
performance, and gain necessary skills while also meeting people who can eventually refer you
to some other industry folks. In other words, just as we discussed earlier, persistence and hard
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work while following the Standard Path will eventually lead to dumb luck or nepotism
opportunities.
Heres another important point to remember in these early stages of your acting career:
yes, you may be slightly better at your job than the fellow next to you, or maybe even your
director. But keep your contempt in check and practice humility. The key is to learn to work
with, and for, others. So bite your tongue, make the right choices as an actor that dont hinder
your performance and save the attitude for much, much later. You never know when a burned
bridge might come back and bite you in the ass (not that this makes any sense, but you get the
gist).
And finally, remember this is isnt a race. Theres no schedule and no deadline by when
you have to make it. Some actors get slightly luckier with opportunities in the beginning; others
will get those same opportunities a little later in their career. The key is to have a game plan
based on milestones, not a calendar, so you can take real, meaningful stock of your progress in
the entertainment industry.
3.2 First Meaningful Gig: Part 2
There is one very significant thing you can do early on that will help to get you on your
way regardless of your chosen path. As soon as you get to London (or sooner if you can manage
it), arrange as many informational meetings or interviews as you can. Talk to everyone you
know (from the industry or not) and find out if they know anyone at any level of entertainment
business. If they do, and based on who they are, ask for an introduction. Once you have your
list of contacts, keep it. When the time comes when you have a great project on your hands
that you want to promote, or you wrote a screenplay with yourself as a lead, call them up and
invite them for coffee or lunch (your treat!), or ask if you can come by their office to talk to
them, or find any other way to connect. Discuss any possibility of bringing yourself out there
with the help of that project or whatever you might have, as well as with the help of your
contacts.
You can also schedule this type of meetings with people from the industry even if you
dont have anything going at that moment. However, you have to be sure that these people will
be open to new connections, especially with newbie actors. If they are, then youre in luck; your
goal at this stage is to pick their brains, and to make it known youre out here in London, and
eager to work hard. These people can be anyone from an up and coming director or producer
to sound technician, screenwriter and even fellow actor. You never know when they might
inform you of an important audition or recommend you to somebody. Secondarily, these
informational interviews can give you invaluable insight on how others have progressed in their
careers via the choices they made, whom they talked to, where they worked, and can help you
sharpen your focus on becoming a successful actor.
You think these people will not waste their time with you? Think again. Some people
wont, obviously. But a lot will. People in the entertainment industry love to talk about what
they do and how much they know about the industry. (If this business could figure out how to
turn egos into electricity, wed be riding underground in London for free.) They will appreciate
that you have shown an interest in what they do versus simply asking for a job. Of course, they
do know youre looking for an audition, and if they like you, theyll offer to help you if they can;
people in the industry like to be known as someone who can help their bosses (current and
prospective) and colleagues, so if they have, for instance, recently been asked to fill a guest part
in Hollyoaks, your timing might be perfect. At the very least, youll walk away with some good
conversation and insight, and perhaps two or three other contacts to follow up on. And youd
be well-advised to send a thank-you note to anyone who gives you their time.
3.3 Networking
You probably heard the rumor Its not about what you know, but who you know. Well,
let me tell you something, this rumor is false. Its not about who you know, but who knows you.
Show business works the same way everywhere, be it London, New York, Los Angeles or any
other major city. Do you really think Colin Hanks would have gotten the lead in Orange
County if it werent for his lineage? Do you really think Paris Hilton would have an agent and
be considering television and film roles if she werent the semi-hot daughter of a hotel
magnate? Of course, its not solely who you know or who knows you. Its mostly about getting
you into the room, but then youre on your own. Ultimately, you will have to have the skills to
back up all those claims about your great acting abilities. Some people may get the job due to a
connection, but if theyre not good at what they do, they wont keep it. This of course is where
Ms. Hilton hit an early wall.
3.4 Getting Connected
So the good news is if you are related to Steven Spielberg or Julia Roberts, youre pretty
much set on the connections front. You can probably use this handbook to Id tell you what
you could use it for if it was a paperback.
However, for the vast majority who are not so well connected, the news is not too
bleak. Getting connected is ultimately a matter of yes, you guessed it persistence and hard
work. The good news is this work can be fun if youre a social being, because it means going
out to parties and pubs and otherwise getting to know as many talented and ambitious people
as possible. The opportunities in London for this sort of socializing, especially for the younger
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set (who can more easily stay out until 3 a.m. on a weeknight and still function at their day
jobs), are legion. The more people you meet and befriend, the better your chances of making
those crucial connections for your acting career. Because eventually, some of the underlings
you know now are going to make it over the wall in five or ten years. You might even meet
some people who are already well connected. (Show business is, after all, a community divided
by only about two degrees of separation, as youll soon find out.) And if youve done the
groundwork, and made genuine connections, those people will walk to the front door and open
it for you.
You should also be networking at any other industry jobs you can get, whether or not
the job is in your chosen field. Of course, it would help if your survival job is somehow related
to the industry, more or less. Then, keep a list of every person you work with at each of your
jobs (in production jobs, staff lists are generally made available; an invaluable resource, and less
writing for you). Put notes next to the names of people you work with directly to remind you
who they are. Director, producer, actor, screenwriter, any kind of designer or assistant Keep
these lists at home. And make sure the people you work with remember you positively by doing
an amazing job, above and beyond the call. Another nice touch, particularly if youre doing
occasional gigs all over the city, is to send thank-you notes to your directors, producers, agents
or whoever might have gotten you that gig. This will put your name in their heads one last time
in a favorable light, and they might just remember you at the very crucial moment of deciding
whom to cast in their new big budget production. And like your mother always told you, its just
plain polite.
In fact, as soon as you move to London, you should consider everything you do an
opportunity to network. You never know where a potential contact or audition lead will come
from. Many actors I know got plenty of auditions from parties they attended. One of them got a
big part in a major production you might have heard about that was filmed pretty recently,
called Anna Karenina with Keira Knightley. Heres another great story that I recently heard
about an actor in Los Angeles:
His wife is a young physician and he has gotten several contacts from colleagues and
patients of hers. While working as an overnight bellman at the Four Seasons Hotel in Chicago,
he met an independent producer with whom he corresponded by email. Six years later he
called on him when he moved to LA and they established a relationship. This actors best
friends uncle went to school with a big-budget, studio-based producer. So the actor has yet to
call in this favor, but someday he might. On his honeymoon, his wife and he happened to be in
Cannes during the film festival. During their stay they helped promote an independent film
along the Croissette. Not only was it fun for them, but it led to several contacts that they have
maintained back in LA.
Do you see? The world is a crazy quilt of networking opportunities. However, if you
decide to spend your honeymoon rubbing elbows instead of other parts, please make sure your
significant other is on board with the idea. I dont want to be responsible for contributing to the
already too-short life span of the typical English marriage these days. And no job is worth losing
the love of your life, right? Right!?
All this may seem very cynical and shallow: get to know people just because they might
know someone important, or be able to help you out some day to get an important role. But
thats not what Im saying. What I am saying is that for various reasons, this is an industry built
on relationships, not on grades or test scores or billable hours. Not necessarily even on results.
Insiders want to work with actors they trust and are comfortable with. Be one of those actors.
Plus, as Ive said over and over, this is a harsh, unforgiving business. No one can make it through
the toil and torment alone. Friends, particularly those who understand what it takes to be an
actor and can empathize with the problems and issues particular to this career path, are critical
to survival. And remember: part of making friends and connections is helping them out
whenever possible. Its not just about what you need; its also about what they need. Its a two
way street, my friend. Plus, you might learn something in the process of it all.
3.5 Staying Connected
Whenever you make a connection, keep in touch. Dont just collect business cards and
store them in your drawer. (Oh, and make sure you have your own business cards to hand out
with your headshot and resume.) Every job and every person can lead to a good audition. Its
hard work, but didnt I say it will be? Its totally worth it though. Keep spreadsheets of personal
contacts and big players in the business. I use my phone for that, and also back everything up in
my laptop. Keep track of when you contact them and what your next steps should be.
Smartphones are the best for this type of thing.
Keep track of all birthdays, important show credits, alma maters, family members
names, where and when you met, and anything that will help you differentiate them from the
(hopefully) hundreds of other people in your phone. You should try to update this information
as soon as you get someones business card or meet them at a party (though not in front of
them!), so you dont forget later on. This is a big part of an actors job, and a very important
one too, if you really want that major part audition. Also, make sure you back up all your data
frequently. (Sounds obvious? Yes. But if I didnt tell you, you wouldve forgotten. Theres a 50
percent chance youll still forget. Dont come crying to me if you lose it all.)
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3.6 Network with Important People
If you are particularly bold, you can try making connections with people who are already
established or becoming established. But dont just start calling people or approaching them at
showcases, workshops and classes. Wait until you are ready and know your stuff about your
career path and your goals. Wait till you have at least some credit and training under your belt.
Then, before you do contact someone, know as much as you can about the person. At the very
least, check them out on Google and IMDB; at best, check out their work and ask peers who
may have worked with them about their experiences, interests, and the like.
Finally, when you do contact anyone in this category, tell them youre looking for advice
and ask if theyd be willing to meet you (face time is better than phone time if you can get it). If
you are extremely lucky and they are willing to give you some of their time, be focused and
selective with your questions; dont waste their time or yours by asking them which restaurants
are good or where you should live. Ask them substantive questions about their creative process
or what work and people in the business they admire. (And be ready to answer the same
questions, intelligently. Do your research, and know your stuff!) And this is very important
dont ask them to give you a job, to read your script or to do anything else for you. Never do
this! Just ask them about their experiences, and listen. Youll be surprised how much you learn.
And if youre lucky and they like you, and you dont forget to send them a thank-you note after,
you might just get a call one day from them or someone they recommended you to, and be
offered an audition.
3.7 Alternatives
If youre not much of a schmoozer or partier, and prefer more structured activities to
make connections, you still have a number of great options. The various professional
organizations are good options (e.g. Equity and Surviving Actors), as are classes, showcases and
workshops, volunteer opportunities, and the broader industry organizations for all types of film
and theatre people. Non-entertainment-focused organizations, such as alumni associations,
sports groups (yoga, football, running, etc.), environmental and political organizations, gaming
groups, twelve step programs and religious organizations can also be fertile ground for making
unique connections. If youre really adventurous, try extreme sports nothing creates a lasting
bond like a near-death experience. Brighton is just an hour on a train, and theres plenty of this
type of stuff around there (e.g. Devils Dyke).
3.8 Dont Make Enemies
Whatever you do, dont make enemies. In this city, theres really no such thing as a
person who doesnt matter. Not for long, anyway. That assistant youre snapping at today
might be the high-powered agent on Regent Street you want tomorrow. Moreover, the
industry is so fluid that executives often find themselves reporting to (or at least forced to work
civilly with) former subordinates when they change jobs. This rule applies even when you work
at jobs outside of the industry.
The bottom line here is: be nice to everyone at all times. (Plus, like your mother always
said, being nice is just the right thing to do). You never know who is going to be someone
someday. Better to have a neutral relationship or no relationship than enmity. This goes for
your romantic life, too, if youre getting involved with partners from your career path. No
matter how much you loathe your boyfriend or girlfriend for cheating on you, make it an
amicable split. That vile, untrustworthy, freakish jerk might someday be running a studio, or at
least an agency. They can also screw you over in many other different ways, especially if they
have some important connections.
3.9 Post Scriptum
A note about art: its obviously subjective. Youll never get ten people to agree what the best
films are. So there cant be an objective good when it comes to taste. But you can get people
to agree on what is professional, so never fail in that respect. Here are some specifics: proper
spelling, clean paper, proper formatting, internal logic and consistency. Also remember that
gimmicks are super-high risk. They might work, but they are much more likely to flag you as a
pathetic amateur. Its helpful to view Londons entertainment industry like an art community. If
you want to act in films that will never be seen by anybody, thats your prerogative. Thats like a
sculptor who makes five-inch sculptures with his own clay. But if you want to make a thirty-foot
sculpture, youd better find a benefactor. You have to give the investors what they want. And
an actors professionalism goes a long way.

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PRODUCING YOUR OWN PROJECTS
Lets grab a breath here and talk a little about what you do aside from your acting work.
This chapter will focus solely on the financial details when producing your work, and Ive
dedicated a lot of attention to negotiations as this is something every new actor-producer is
very weak at. If currently this is of no interest to you, skip to the last chapter of Living in
London.
Producing your own projects is a great way to get exposure, put yourself out there, and
generally work instead of just hang around London jobless all the time. Every actor should know
what a producer does and how to behave like one. Many big household names have found their
success through producing their own things, and its the first step you should think about when
supplementing your acting career. Getting a job as a producer in a company, if you manage to
get one, is an achievement in itself. It will teach you some valuable lessons for your future
career both as an actor and a producer.
If you havent read British actor Alan Fords book Thin Ice, you can give it a shot to
learn how not to pursue a career in acting. So, in case you do get onto a full employment as a
producer for a shot or long period of time, here are some tips that every actor-producer should
know. They were once given to me by a good friend in Los Angeles whos done some amazing
work at the time when I was producing my own short series.
4.1 Budgets
Budgets are where the power is. The people who know what everything costs end up
running things. Thats because there are so many ways to get burned on a deal in London.
Making deals in this city is like making wishes with evil trolls. Youll probably get what you want,
but all of the other assumptions you make will be exploited in order to screw you. If your movie
makes 100 million at the box office that means youre rich. Right? Maybe not: take a closer
look.
For example, lets say you wrote a script (like I said, its a good idea for an actor to write
their own stuff whether for the role or the money) and they produced that script, so youre
supposed to get ten percent of the net profits. The movie makes 100 million at the box office
and you think that means youre entitled to ten million. Think again. Under the basic economics
of a feature film, the theater gets 45 percent. So that leaves 55 million. The distributor gets
around 30 percent of whats left, leaving around 40 million. Then, the two stars and the
director each get five percent of the gross, a total of fifteen million. Now theres only about 25
million left. But the film cost 30 million to shoot. So that means that the film actually had a net
loss of five million even though it made 100 million at the box office, and your net profits are
worthless. Just be glad you dont have to make up the difference. Oh, and if the film makes
another 50 million in DVD and Blu-ray sales, you can hope for another five grand, tops.
Welcome to the big time.
Consequently, in an industry as merciless and litigious as entertainment business,
people get rightfully paranoid. Youre really valuable if you can read a contract and recognize
where they try to screw you (in this case the difference between net and gross).
Similarly, budgets are just as important as contracts. Theres a big difference between
price and cost. The price is what they offer. The cost is the amount you actually pay after
haggling it down. The flip side of this equation is that people will try to overcharge you as much
and as often as they can. So do your research and shop around. You should already know the
drill if youve ever bought a new car. Ask for a price before you disclose your budget. Then play
the competitors off each other. It takes a few phone calls and maybe a little Internet research,
but its definitely worth it. If you need your short film edited you could pay a professional editor
2000 a week plus 1000 for an avid system and gear, plus overhead/rent costs. It could take a
month and you could be out over 20,000. Or you might be able to find a talented and eager
film school kid with his own Final Cut Pro system and get him to cut it for nothing. In this city,
everythings negotiable.
4.2 Negotiating Pay
Beggars cant be choosers, so it will probably be awhile before you ever find yourself in
a position to demand a salary, let alone negotiate one. Heck, youre probably going to be paying
someone to let you hang around and be their intern. But at some point, if you are very, very
lucky and very, very good, you might just get the opportunity to haggle for a few extra pounds.
The above-the-line creatives (directors, writers, and us, actors) will generally have an agent to
negotiate for them when they get to this level. But the rest of them, particularly producers,
probably wont. So youll have to do it on your own if youll decide to become an actor-
producer. Below are some tips on negotiating pay if youre ever in that situation.
Make sure you have the job
If you have been unemployed for a while and really need the money, which you
probably do, don't let salary negotiations keep you from working. Youre probably desperate
for that assistant job to keep your acting career on track. Get that gig offer, and then negotiate
your pay. Here are some lines you can use.
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"Let's make sure we're the right fit for each other before we quibble over
money. If you decide I'm the right person for the job, then I'm confident we'll
come to an agreement."
"If I'm the one you want we'll find a way to make the salary work."
"There's no point in arguing over the price of a Ferrari if you know you're going
to buy a BMW. And to further stretch the analogy; I'm no Hyundai. Do you
know that you want me? (Get confirmation.) Ok, then. Let's talk money."
Do your homework
Find out what the going rate is for the gig. Know what the network range is. Know what
the production company range is. Call friends of friends to get the inside scoop. If worst comes
to worst, try cold calling an employee and asking for a range (mention that you'd do the same
for him/her). You need all this information because you dont have a minute to waste on poor
chosen companies; you have an acting career to pursue.
Once you get an idea of the standard salary range, youll have to adjust your target by
figuring in the other factors that could affect the rate. For example, if the show you
wrote/directed/produced is a big hit (network flagship, cover of magazines), the standard
salaries can be doubled or even quintupled. This is especially the case if there aren't a lot of
people at the top. On the other hand, if the show is a joint venture with ten or more people
taking some sort of major producer credit, there often isn't enough money to go around. If the
show is really cheap to produce and/or is being sold around the world and/or is a major hit in
syndication, then there's probably a lot of money that could theoretically be spent on your
salary.
After you do your research, rehearse your salary pitch. Say your lines out loud to the
mirror or your close friend. Role-play and improve; you are an actor in the first place. Work out
the various scenarios so that if you encounter them in real life they won't feel so foreign and
uncomfortable.
Ask to see the budget
Find out where they are planning to spend the money. See if they are way off on various
aspects. Get a read on their savvy. Get a sense of whether you can save them some money that
can go to your salary. Get a sense of your salary in relation to the big wigs and your
subordinates.
Always make them give the first number
Never give up the leverage of first offer. Keep your mouth shut until they give you a
number. Your dream salary might be 1000 less than what their low offer would have been.
They might even think you're a joke if you mention too low a salary. You don't want them
thinking "If she'll take X then she must really suck as a producer."
Here are some lines you can use to induce them to give you the first number:
"I won't be offended. If your offer is too low I simply won't take it. But give me a
number to work with."
"Seriously. Give me a number. I want to work here. Your team seems like cool
people. This is an interesting project. If you give me the right number I won't
even haggle. I'll just take it."
"C'mon. Give me the number. Let's stop dancing. We know this is going work
out. Give the number and we can start making a great show."
If you dont get the number
If you cant get them to give you the first number, it gets tricky. The most important rule
is not to lie. You can be somewhat Clinton-esque in your wording, but never say anything that
can be proven to be untrue. Deals and contracts can be vitiated (nullified) and you can get
prosecuted for fraud. So don't screw-around and rationalize that everyone does it. Just get
clever.
If you must give the first number, aim really high. Producers often have to negotiate as
part of their jobs and employers respect good negotiators. If you'll fight for your salary maybe
you'll save them a lot of money on a deal. If you ask for a Ferrari, your interviewer may be able
to go to the money people and get a budget increase to a BMW, which isnt a Ferrari but is
better than the Hyundai they were thinking of offering you. So ask for a big salary.
Never say earnestly pathetic drivel like "I'm actually starving. I haven't worked in
months. I just need a job. I'm about to give up on this industry. My unemployment just ran
out." It looks desperate and terribly unattractive. "Attributed Value Theory" makes people think
you're worth less if you would work for less. And if you ask for a Ferrari and ultimately they only
pay you a BMW then they think they got a bargain and they're happy with their own
negotiating skills.
Here are some lines to use if you have to give the first number:
"I want to work here. And I'll be flexible on salary. But here's my number X.
"We'll make the budget work somehow. And I'll do it for X."
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"I think we could be friends. And this might be a really fun project. Forgive me
but when we talk salary I have to be 'all-business'. Please don't be shocked but
you can have my talents and diligent work-ethic for X."
Remember that "X" can be whatever you want. It can be triple what you think their top
rate might be. (Of course, they might laugh in your face.) "X" can be simply whatever you think
their highest rate might be (using your research). But don't sell yourself short. People respect
others who have high self-esteem. And they're suspicious of people who act like whipped dogs
or slaves.
They might put a specific question to you like: "What is your rate?" or "What did you
make on your last job?" But remember that your rate is what you'll work for now. If you're not
willing to work for less than double your last gig, then that is your new rate. Maybe no one will
pay it, but it takes both sides to agree for a price to be defined. Also remember that you can say
you're not going to give them that number (your last salary or your "rate"). Make it clear that
you want to work there and are a team player once you start. But you have to eat and pay rent.
Business is business. And you need to get their perspective.
Here are some more lines you can say if they demand your rate:
"Producers in the position often get X."
"I think a fair salary is X."
"I would work for X."
"I expect to be paid X."
Notice none of these reveal that you used to work for one tenth of X.
When you pitch your super-high rate say it with a straight face and look them in the eye.
After you say your number shut the hell up. Make them say the next words. Count to 30 in your
head if you have to. Make them deal with the uncomfortable silence. They might react quickly
with shock and offense. They might say "Whoa! That is way out of our league. We are on
different planets. We have no budget." Let them talk it out. They might give up valuable
information. Once they're done, you can respond with "Well, I'm willing to work with you. What
number were you thinking of?" That way you've tossed the grenade from your yard to theirs
now they have to give you a number. (And whatever you do at this point, dont negotiate
against yourself i.e. dont lower your number unless and until they have made a counteroffer.
Its a sure sign of weakness. The other side will just sit there waiting for you to keep lowering
your number because they know you probably will.) If they're weak they'll give you the highest
number in their budget. If they're savvy they might still lowball you. It's tough to know what the
situation is.
A complicating factor is when they would be happy to hire your competitor instead.
Let's say you would work for 1500, but think they would pay 2000. But you also know they'd
prefer your rival for 1700 to you for 1800. In this situation, you have to accept something like
1700 (the highest price at which they still want you).
You can still negotiate
If their offer is great you can simply take it and be happy. But don't leave money on the
table if you don't have to. Get all you can. You deserve it. You have an acting career to support
later. And remember that, by definition, they are extracting profit from their employees. They
wouldn't hire you if they didn't think you were more valuable on the team than off it. (If your
good friend is "gifting" you a gig the situation is very different. Maybe nepotism or favor-karma
is working for you this time. In which case you have almost no leverage and you should take
what you're offered. Your good friend wouldn't screw you anyway. But you should know the
difference between getting a gig "gifted" to you by a good friend and your good friend hiring
you because you're actually needed and valuable.)
As a general rule, negotiations tend to end in the vicinity of the midpoint between the
first demand and the first offer i.e., the anchors. So if you get their starting offer first, make
your initial demand high enough so that the midpoint between these two anchors is
somewhere above the lowest number you would accept. After that give ground gradually, at
about the same rate as the other side (i.e., if they offer another hundred, then you can knock
off another hundred, but no more.) If you have to give the first number, be aware of this
midpoint rule and take note of their first offer. If the midpoint is too low, youll really have to
fight to keep the final number high by not giving as much ground on your demands as they are
giving on their offers. And never jump directly to the midpoint unless the numbers are already
very close, because such a drastic move will just set a new anchor, and the negotiation will
probably end well below the original midpoint.
One of your most potent tools is silence. Silence makes people squirm. They want to fill
the void. And sometimes, theyll fill the void with another number. This gives you the upper
hand because you have forced them to negotiate against themselves.
Here are some tricks to use after they give you a number:
You can shut the hell up. Count to ten in your head while you read their body
language and take in the moment.
Say "Well. I think we can do better than that." Then shut the hell up.
Say "Ok. But what do you have in the budget?" Then shut the hell up.
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Say "I'm not saying I'm him but if Mark Burnett wanted this particular job what
would you pay him? You can find a couple hundred bucks more a week."
If they continue to lowball you, and you cant get them to come up appreciably, you may
need to jump down to your lowest acceptable salary and pitch it as your final number to see if
you can get them to take it. Here are some lines to try in this situation:
"That is just too low for me. If you can squeeze up to Y I would make it happen."
"I have expenses. I have to eat. I can't give up my daily caviar bubble baths.
Seriously, you know I'm worth at least Y."
"I've made Z (your highest true salary that is still higher than their offer) in the
past. And now I have more experience. I could go as low as Y."
"I really want to work here. A fair budget would allow me to get at least Y. Do
me that favor and let's start on the right foot."
If this doesnt work, and their last, best offer is still too low, say you have to think about
it. Find out when they need a final answer. Thank them for their consideration and leave. Go
home and think about the gig and the salary. Ask yourself how badly you need the job. How
broke are you? Consider other solutions to support your acting career or find other experience
for it. Should you take the low offer and know that you'll leave at the first opportunity? Money
buys loyalty. If they're going to lowball you and be all-business then they can't reasonably
expect you to forego any better opportunity that comes along. Its probably not a long-term gig
anyway, because you have to go back to pursuing acting full-time.
Is it a "prestige" project? Would you want to work with them in the future? Hopefully in
the meantime they'll call back with a higher offer. If not, wait a while (maybe until a couple
hours before their deadline) and call them back. Attempt to re-employ the above counter-offer
tactics. Then wait in the silence and give them your final decision. Write a thank you letter
either way; never burn a bridge if you don't have to. Maybe they'll pay a good rate on the next
gig and think of you.
Finally, remember that tough negotiating helps us all. If you get an extra couple hundred bucks then it's
easier for the next person to get a hundred more than that. We need higher salaries when producing,
directing, writing or just being assistants, and they can afford to pay us. Lets all stick together to achieve
that success in this so-called acting business.

LIVING IN LONDON
Everyone in London and around London, and as far away from London as possible
knows about the traffic in here, which is, by the way, far worse than you could ever imagine.
The rushed and packed feeling of London might not be like everybody describes it once you get
used to it, but it is there. And London is the most expensive city not only in England, not only in
the United Kingdom, not only in Europe; its one of the most expensive cities to live on the
planet. But this entire thing aside and when you know what youre doing, London can be not
only a livable city, but a city you will fall in love with. And it might just be downright fun to live
here, too.
5.1 Rent
The cost of rent in London rocketed by 4.7 per cent in 2011, making it the second most
expensive city in Europe for property rentals. Only Paris, where prices also rose by 4.7 per cent,
is more expensive for those who live in rented homes, according to research by estate agent
Savills. But dont let it scare you.
A quick perusal of websites like Zoopla and Rightmove, as well as using Google, will give
you an idea of housing costs in the various parts of the city, which vary widely. With luck
(theres that word again!) and a lot of legwork, rides on buses and underground, you should be
able to find something reasonable in the general vicinity of almost any area you want to live.
London and most or all of the surrounding zones have some sort of rent control or rent
stabilization, so barring condo conversions or other unusual circumstances, your rent will not
be raised more than a few percentage points a year. Thats about the most certainty and
stability youll get during your time here, so relish it.
London is full of dozens of diverse areas, not just racially and ethnically, but culturally
and architecturally. We have places like famous Westminster and Soho, artistic Camden, rich
Chelsea, and many, many others. There are just too many areas to name, thats why youll have
to do this part of research on your own. Usually just using Google will help you out with
deciding where you prefer to live. Some columns on Acting In London website also give advice
on new actors looking to move and live in London. Camden is usually the place where most
artists love to stay for the first year.
The best way to start your housing search is to take your Thomas Guide and spend time
looking around to get a good sense of the various neighborhoods within your price range. Once
you have narrowed down the possible neighborhoods, you can set up appointments to see the
flats advertised on the various letting databases. But if you know where you want to live,
Acting In London

43
sometimes it is just as good to walk or drive around the area looking for the to let signs. At
least some of these will be flats not advertised on the database(s) you are looking at.
A major criterion to remember when choosing a place to live is commute time. Dont
assume just because a fifteen-mile commute in Preston, or whatever other small town youre
from, took you twenty minutes that it will be anything like that here. It can take an hour and a
half to cover which looks like a pretty small distance on the map.
So if you know where you are going to work, where youre going to rehearse, go to
classes, audition, etc., think twice before you rent a flat eight or so miles away from the nearest
tube station. If you have the necessary temperament (natural or enhanced), and dont think a
grueling commute will bother you, then ignore this factor and focus solely on what area of town
best fits your personality. But I wouldnt advise so, as the time here will be your currency.
If you cant make up your mind, or if (like most of us) you only have a day or two to
make a decision, and if you can afford it, then go for places from 1-3 zones.
Roommates
Roommates are a complicated matter. If you know someone well and think he or she
will be a good roommate, go for it. If you get a roommate recommendation from someone you
know well, that might work, too. But if youll be moving out here without knowing anyone, or at
least anyone who is up for a roommate situation, finding an acceptable flat mate will be tricky
at best. There are a number of ways to find roommates. One of the easiest is to use websites
like SpareRoom.co.uk, where you can specifically look for one.
However, this city attracts a lot of nuts. Stories of roommates from Hell are floating
around the Internet waters. Unless you are an actor with some masochistic need to live
dangerously for your art, I suggest you try to avoid the unknown roommate thing, at least for
your first apartment. If you have to take a studio in Camden Town to afford solo living, it will
probably be worth it. (Of course, if you are the roommate from Hell, then none of this applies
to you. Have fun torturing your next victim.)
5.2 Transportation
Driving sucks. Unless you have endless stores of patience and really good meds, you
can afford the expensive insurance, the car, the fuel, parking permits and other additional
expenses that you get when owning a car in London, I would suggest you to get over it. The
horrible traffic is here to stay, and so is the expensive maintenance of your vehicle. In my
opinion, its totally not worth owning a car when living in London; therefore, I cannot help you
much beyond this point.
As for underground and buses, weve got one of the best developed systems in the
world. You can find a tube station or a bus station in any part of London that will get you to
Central London, and while your auditions will probably take place all over the city, a lot of them
will be within the first two zones. To be honest, thats as much information as you need. The
only thing you have to do is get yourself an Oyster card, which will save you lots of cash when
using underground and buses every day. Im not going to mention prices as they keep changing
constantly, so just look it up on the official website.
5.3 Social Life
The velvet rope stories are true. There are clubs all over town where access is closely
controlled by neo-Nazis in black turtlenecks who only let in the connected, the rich, and the
beautiful. (It makes no sense to try to list the hot clubs here, because that designation changes
with the seasons.) Everyone should try to get into these clubs at least once, for the experience,
but there arent a lot of tips I can offer you except that if you are connected, rich or beautiful,
youre in. (By the way, beautiful by British standards normally isnt quite enough. Think more
of a Los Angeles-beautiful, where the hottest people from all over the world come to be
discovered. Oh, and when they get there they get even hotter by investing in a personal trainer
and a plastic surgeon. So even if you were the hottie of Preston, you still may not make the
cut.)
But dont worry if you cant get in. There are a million things to do in this city. Look up
online for events that are happening daily in London. All the museums in London are free and
are absolutely great. If youre a big art lover, visit Saatchi Gallery and The National Gallery.
During awards season, there is a super-secret way to get into screenings usually
reserved for specified organizations. Its so super-secret Im not going to reveal it here, but if
you can become one of my friends, I might just tell you.
5.4 Communication
You must have a cell phone. This is more important than having a landline. And it has to
be a smartphone. Yes, theyre expensive. Yes, the whole concept of trying to pre-estimate your
monthly minutes in 100-minute chunks is a complete rip off. But your single most important
accessory even more important than that Gucci bag or that Dillon Rogers bracelet, is a cell
phone. Everyone in the business expects you to be available 24/7, so even if the only way you
can afford one is to give up your daily Costa coffee, youd better get those caffeine withdrawals
over with, now. Oh, and make sure your phone is never dead trust me, you dont want to miss
that one single important call about a major audition due to your phone being dead.
Acting In London

45
FINAL WORDS
We have so much more advice to share with you, but even though everyone who
contributed information to this short handbook took some time out of their schedule, we still
have busy days ahead of us. Hopefully some of this information was helpful to you and now you
know how to get your feet wet. For regular daily tips and advice, visit our website.
We are currently working on a full book/guide on how to become a working actor,
where more tips and advice will be given, as well as expansion on the topics covered here. If
youre interested, make sure to subscribe to our websites newsletter and youll be the first one
to know when it comes out.
If you want to get in touch with us, use the contacts form on the website
Thanks for reading, and heres hoping you will get to where you were meant to be!

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Copyright 2013 Acting in London. All rights reserved.

Updated June 2013. http://actinginlondon.co.uk

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