Film and Television Terminology for Child Actors

Action: The cue that is shouted when the camera starts rolling

A.D.: Assistant Director

Ad Lib: made up dialogue that is not scripted; a form of improvisation

Art Director: Person who creates and designs sets

Avail: a courtesy situation extended by an agent to a producer indicating that a performer is available to work a certain job. Avails have no legal or contractual status

Background Talent: Also known as extras

Best Boy: In films, the assistant to the electrician

Billing: The order of the names in the titles or opening credits of a film or television show

Bio: (or biography) A resume in narrative form usually for a printed program or press release

Blocking: The physical movements used by actors in a scene

Booking: A firm commitment to a performer to do a specific job

Boom: An overhead microphone, often used on-set, usually mounted on an extended pole

Breakdown: A detailed listing and description of roles available for casting in a production

Buyout: An offer of full payment in lieu of residuals, when the contract permits

Callback: A follow-up audition

Call sheet: Production term for daily listing of shooting schedule, scenes and cast involved

Call time: The time you are due on a set

Cattle call: often known as an “open call”, a large open audition

Close-up (CU): Camera term for a tight shot of the shoulders and face

Cold reading: An unrehearsed reading of a scene, usually at auditions

Commissions: Percentage of a performer’s earnings paid to an agent’s managers for their services

Composite: A one-sheet of photos representing an actor’s different “looks”

Conflict: Status of being paid for services in a commercial for one advertiser, thereby contractually preventing performing services in a commercial for a competitor

Copy: The script for a commercial or voice-over

Craft services: On-set catering

Dailies: Screening of footage before it is edited

Day-player: A performer hired on a day-to-day basis, rather than under a long term contract

Downgrade: Reduction of a performer’s on-camera role from principal to extra

D.P.: Director of Photography of Cinematographer

Dress the set: To add items/props to the set

Drive-on pass: A pass to drive on and park at a studio

Emancipated minor: A minor under 18 who has been given the status of a legal adult by a judge

Employer of Record (EOR): The company responsible for employment taxes and unemployment benefits

Executive Producer: The person responsible for funding a production

EXT. (Exterior): A scene shot outside

Field rep: SAG or AFTRA staff member who ensures contractual compliance on a set

Forced call: A call to work less than 12 hours after dismissal of the previous day

FX (Effects): Special Effects

Gaffer: A crew member who places lighting instruments

GED: General Equivalency Diploma

Gofer: An errand runner

Golden time: Overtime after the 16th hour

Grip: A crew member who moves set pieces or props

Hiatus: Time when a TV series is in between production

Hold: A contractual obligation for a performer to be available for work

Holding fee: Set payment by an advertiser to retain the right to use a performer’s services, images or likeness on an exclusive basis

Industrial: Non-broadcast, often educational films

INT. (Interior): A scene shot indoors

In time: The actual call time or start time; also refers to return time from a break

Looping: An in-studio technique matching voice to picture (Also known as ADR)

Meal Penalty: A set fee paid by the producer for failure to provide meals as set by the contract

Monologue: A solo performance by an actor

Out time: The actual time after which you have changed out of wardrobe and are released

Overtime (OT): Work extending beyond the contractual workday

P.A.: Production Assistant

Pan: A camera shot which sweeps from side to side

Pick-up: an added take because of a problem with a shot

Pilot: The first show introducing the characters and situations for a potential series

Popping: A vocal term used to describe the sudden release of blocked air into a microphone causing a popping sound

POV shot: A point of view shot; camera angle from the perspective of one actor

Principal: A performer with lines or special business which advances the storyline

Producer: (or Line Producer) The person responsible for the day-to-day decision making on a production

Re-write: Changes in the scripts; often made using color-coded pages

Scale: Minimum payment for services under Union contracts

Scale+ 10: Minimum payment + 10% to cover agent’s commission

Script Supervisor: The crew member assigned to record all changes or actions as the production proceeds

Sides: Pages or scenes from a script used for auditions

Sight-and-sound: Parent’s right’s under Union contracts to be within the sight of the child performer at all times

Signatory: An employer who has agreed to produce under the terms of a union contract

Slate: A small chalkboard and clapper device, used to mark and identify shots for editing; also the verbal identification by a performer in a taped audition (i.e. “Slate your name.”)

Stage Manager: The person who oversees the technical aspects of an in-studio production

Stand-In: A stand-in for film and television is a person who substitutes for the actor before filming, for technical purposes such as lighting.

Station 12: At SAG, the office responsible for clearing SAG members to work

Studio Teacher: Set teacher or tutor, hired to provide education to working with young performers; also responsible for enforcing Child Labor Law

Stunt Coordinator: The persons in charge of designing and supervising the performance of stunts and hazardous activities

Submission: An agent’s suggestion to a casting director for a role in a certain production

Taft-Hartley: A federal statute which allows 30 days after first employment before being required to join a Union

Take: The clapboard indication of a shot “taken” or printed

Take 5: The announcement of a periodic five minute breaks

Waivers: Board-approved permission for deviation from the terms of a contract

Walk-on: A very brief role

Wardrobe: The clothing a performer wears on camera

Work Permit: A legal document required to allow a child to work, issued by various state or local agencies

Wrap: finishing a production

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• Sample Cover Letters
• Audition Tips
• How To Make an Audition Video
• General Talent Agent Information
• Entertainment Industry Terminology
• Child Work Permit Information
• Immigration Work Permit Information
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Parents Do's and Don't's

DO's
KNOW the rules and regulations which govern the employment of your child, as well as your responsibilities. Ultimately, YOU are responsible for your child's safety and welfare.

BRING social security number, work permit and I-9 identification.

PLAN to arrive on the set 15-30 minutes early.

CHECK-IN with the designated person on the set, usually the A.D. (Assistant Director) or the Stage Manager. Also, check in with the teacher if there is one.

SIGN a completed copy of your child's contract for the job before your child begins work. (Be sure all blanks are filled in.) Call your agent if there are any problems or questions.

STAY within sight and sound of your child on the set. It is always your right to do so, but be unobtrusive about it.

BRING at least three hours of schoolwork if your child is being tutored on the set. Be prepared to supervise your child during meal periods and non-school times.

SPEAK UP if you feel your child is working too long without a rest break or being asked to do something you feel he/she should not be doing.

TELL your agent ahead of time if your child has special food or medication requirements, or if your child has unusual educational course work, so proper arrangements can be made, or bring the necessary items yourself, where possible.

SIGN OUT at the end of the work day.

DON'T's
DON'T assume anything. When in doubt, ask. Call the Union

DON'T forget. Your child will not be allowed to work without these documents.

DON'T be late. DON'T bring other children, relatives or friends to the set.

DON'T ever leave your child unattended on the set.

DON'T allow your child to begin work if you have not received a contract, and don't sign the contract if it differs in any way from your understanding of the terms of employment. This is Union Rule!

DON'T bother other actors, the director or crew members. Keep out of the way while watching your child on the set.

DON'T interrupt the classroom or "hang out" with the teacher and your child during school time.

DON'T be intimidated into yielding to unreasonable requests or making exceptions to provisions in the contract.

DON'T wait until the last minute to arrange for your child's special needs (e.g. food, medication or specific educational requirements.

DON'T let anyone else sign out for your child.

Hints and Tips

1. Buy a 3 ring note book and dividers.
Put in this note book:
Work permit
Coogan Information
Copy of Social Security Card/Birth Certificate
Head Shot
Screen Children's Address
Calendar
Pen and Stapler
Guardian Forms Blank

2. When your child works a job, keep the copy of the voucher in a file. Write on your calendar, who your child worked for, where, the hours, and any bumps (extra for clothes, stunts, smoke, etc.) When you get paid mark it off your calendar, staple your check stub to the voucher. (sometimes it's up to six weeks to get paid, be patient, we have never not been paid, sometimes it's just busier in the office than others)

3. Write down what you spend on the calendar, hair cuts, shampoo, make up, almost anything cosmetic can most likely be tax deductible, also sometimes lessons (dance, acting, karate) can also be tax deductible, as well as your note books, calendars, pagers and other expenses.

4. If you are interested in doing this you need to call the Unemployment number in the government section of your telephone book. You must have your child's Social Security number, and their last employer (have the last voucher) in front of you when you call. I don't know how much they need to have earned, the amount they collect per week and how long they can collect is different, for each claim. IF YOU TURN DOWN WORK FOR ANY REASON WHILE YOUR CHILD IS ON UNEMPLOYMENT YOU COULD LOSE BENEFITS.

5. Be on time, plan on being there a half hour early. (Be ready most of the time your child will not go to makeup or hair, it's up to you.) Plan for delays. Buy a current Thomas Guide and keep it with you. If you arrive early be considerate of the production crew if they are eating. If you are invited to have breakfast because you're there early (most of the time you will be told to go have breakfast) then remember to be kind to those that only have a limited time before they have to get back to work (you'll make their day if you let them go ahead of you in line).

6. Follow the rules: One parent! No extra children! (on some sets even switching parents is a problem, ask ahead to avoid problems). There are many reasons for this, room on shuttles, seating, food, safety, insurance.

Bring school work
Have your paper work
Bring *requested wardrobe*
Make sure your child behaves.
Turn off Cell Phones and Pagers (and be quiet when rolling even whispers can be heard)

You are in charge of making sure your child's need are meet. You should always be within sight and sound of your child
.

Note About Managers

Note For Young Performers

Acting in show business as a young performer can be a great experience. It can give you a head start by helping you develop leadership skills, teamwork skills, self-confidence and the ability to earn some money for your future.

This industry is called show business for a very good reason - it is a business. It is also a lot of fun, and for a young performer it should always be fun. If for any reason it is not fun and educational for you, talk to your parent or guardian and let them know. You can always take a break from the business and decide later if you want to come back. You should only be in this business if you are dedicated to it and are passionate about acting.

Reputable Talent Agents For Kids

Do NOT call Talent Agents, please submit by email or mail only unless specified otherwise. No personal unannounced drop-offs. Talent agents are extremely busy professionals who need their time spent on getting their talent submitted for work. Imagine if you had a talent agent, and they were too inundated with phone calls from people with general questions, and did not have time to submit YOU to casting directors. It is simply common courtesy to not call the agents.

Lara Holmes
L & L Talent
609 Deep Valley Drive
Suite 200
Rolling Hills Estates, CA 90274
agent@lltalent.com

Abrams Artists Agency
9200 Sunset Blvd
Suite 1130
Los Angeles, CA 90069

Agency For The Performing Arts
405 S. Beverly Drive
Beverly Hills, CA 90212

Aimee Entertainment Association
15840 Ventura Blvd., Ste. 215
Encino, 91436

Buchwald Talent Group, LLC
6500 Wilshire Blvd.
Suite 2210
Los Angeles, 90048

The Chasin Agency
8899 Beverly Blvd., 7th Floor, #716
Los Angeles, 90048

Cinema Talent Agency
468 N. Camden Dr.
Ste. 200
Beverly Hills, CA 90210

Circle Talent Associates
433 N. Camden Dr.
Ste. 400
Beverly Hills, 90210

Coralie Jr. Theatrical Agency
907 S. Victory Blvd.
Burbank, 91502

Howard Talent West
10657 Riverside Dr.
Toluca Lake, 91602

L.A. Talent
7700 Sunset Blvd
Los Angeles, 90046

Twentieth Century Artists
19528 Ventura Blvd.
Suite 612
Tarzana, 91356

Miramar Talent Agency
7400 Beverly Blvd.
Suite 220
Los Angeles, 90036

Susan Nathe & Associates
8281 Melrose Ave.
Ste. 200
Los Angeles, 90046

The Orange Grove Group, Inc.
12178 Ventura Blvd.
Suite 205
Studio City, CA 91604

Pacific West Artists Talent
Agency
12500 Riverside Dr.
Ste. 202
North Hollywood, 91607

Progressive Artists
1041 N Formosa Ave
Formosa Bldg., Room 194
West Hollywood, 90046

The Savage Agency
6212 Banner Ave
Los Angeles, 90038

Screen Artists Agency
4361 Tujunga Ave.
Ste. A
Studio City, 91604

Scott Stander & Associates, Inc.
13701 Riverside Drive
Suite 201
Sherman Oaks, 91423

Starwil Talent Agency
433 N. Camden Drive
4th Floor
Beverly Hills, 90210

Ann Waugh Talent Agency
4741 Laurel Canyon Boulevard
Suite 200
North Hollywood, CA 91607

Shirley Wilson Talent Agency
5410 Wilshire Blvd.
Ste. 510
Los Angeles, 90036

Osbrink Talent Agency
4343 Lankershim Blvd.
Suite 100
Universal City, 91602

Cunningham Escott Slevin
Doherty, Youth Division
10635 Santa Monica Blvd.
Ste. 140
Los Angeles, 90025

Coast to Coast Talent Group,
Inc. Youth Division
3350 Barham Blvd.
Los Angeles, 90068

The Beverly Agency, Inc.
Warner Center Plaza
21550 Oxnard St., Ste. 880
Woodland Hills, 91367

Visionary Artists Agency
5503 Denny Avenue
North Hollywood, 91601

Avalon Artists Group
5455 Wilshire Blvd.
Suite 1111
Los Angeles, 90036

Brass Artists & Associates
9025 Wilshire Blvd.
Ste. 450
Beverly Hills, 90211

Henderson & Romo, Inc.
10 Universal City Plaza
20th Floor
Universal City, 91608

K. Levy & Associates Talent
Agency, Inc.
4869 Topanga Canyon Blvd.
2nd floor Suite #8
Woodland Hills, CA 91364

Bobby Ball Agency - Kids and
Young Adults
4605 Lankershim Blvd
Ste. 721
Universal City, 91602

Williams Talent Agency, LLC
Sunset Gower Studios
1438 N. Gower Bld. 35
Hollywood, CA 90028

The Michael Zanuck Agency
28035 Dorothy Dr.
Suite 120
Agoura Hills, CA 91301

All American Rascals
3317 East 10th Street
Long Beach, 90804

Debra Manners Talent Agency
4804 Laurel Canyon Blvd
Ste. 597
Valley Village, 91607

Webb Agency
11620 Wilshire Blvd.
Ste. 900
Los Angeles, 90025

Alcus Holly Agency
8350 Wilshire Blvd.
Suite 200
Los Angeles, 90211

ChezChic Talent
9663 Santa Monica Blvd.
Suite 5000
Beverly Hills, CA 90210

Network International Models &
Talent
8730 Wilshire Blvd.
Suite 250
Beverly Hills, CA 90211

Child Actors Resources