Video auditions for 'Star Wars: Episode IX' and 'Spider-Man: Homecoming Sequel'

Interested in doing video auditions (live Skype, or video upload) for major feature films such as "Star Wars: Episode IX," "Captain Marvel," "Spider-Man: Homecoming Sequel" and others? Now is your opportunity to be submitted to the casting directors.

This offer is now closed.

'Untitled Spider-Man: Homecoming Sequel' auditioning talent for new roles

Walt Disney Pictures and Marvel Entertainment are now set to begin production on "Untitled Spider-Man: Homecoming Sequel" in July, 2018. Casting directors are setting up auditions for actors and actresses to be cast in lead and supporting roles in the film. Filming will be taking place at the Pinewood Studios in London, England. Anyone interested in being considered for these new roles in "Untitled Spider-Man: Homecoming Sequel" can sign up to be submitted, details are posted at the following - Feature Film Video Auditions.

Jon Watts will direct "Untitled Spider-Man: Homecoming Sequel" from an adapted screenplay penned by the Primetime Emmy Award nominated writing team of Erik Sommers and Chris McKenna. Publicists Guild of America Showmanship Award winner Kevin Feige is producing for Marvel Studios, along with Academy Award winner Amy Pascal. Executive producer is Eric Hauserman Carroll. DP is Primetime Award nominee Matthew J. Lloyd. Directors Guild of America DGA Award winner Josh Robertson is serving as 1st AD, with Tim Waterman as 2nd AD.

"Untitled Spider-Man: Homecoming Sequel" is scheduled to hit theaters on July 5, 2019.

Submission Information for Speaking Roles

Click here for information about being submitted to the casting directors for lead and supporting roles in "Untitled Spider-Man: Homecoming Sequel."

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Production Companies:

Walt Disney Pictures
500 S Buena Vista Street
Burbank, CA 91521

Marvel Entertainment
135 W 50th Street
7th Floor
New York, NY 10016

Columbia Pictures
10202 W Washington Blvd.
Culver City, CA 90232

Distributor:

Sony Pictures Releasing
10202 W Washington Blvd.
Culver City, CA 90232

Director:

Jon Watts

1st Assistant Director:

Josh Robertson

2nd Assistant Director:

Tim Waterman

Writers:

Erik Sommers
Chris McKenna

Cinematographer:

Matthew J. Lloyd

Starring:

Tom Holland - Peter Parker/Spider-Man
Zendaya - Michelle Jones
Jacob Batalon - Ned Leeds

Talent search underway for Star Wars characters 'Mara' and 'Caro'

Casting directors are now setting up auditions for lead and supporting roles in "Star Wars: Episode IX." The film is using the working title "Black Diamond." There is currently a talent search underway for an actress between 40-50 years of age to play a character named "Mara," and also an ethnically diverse actress between 18-26 years of age to play a character named "Caro." Caro has a captivating naturalness, is a leader and problem solver, and also sports a sense of humor along with a strong will.

Numerous additional roles are also being cast, both males and females. Filming will be taking place beginning in July, 2018 at the Pinewood Studios in London, England and surrounding areas. Talent can be considered from all areas from video auditions and live Skype readings. Anyone interested in being considered for these new roles in "Star Wars: Episode IX" can sign up to be submitted, details are posted at the following - www.moviecastingcall.org/star-wars-episode-ix-auditions/.

J.J. Abrams will direct, and also produce along with eight-time Academy Award nominee Kathleen Kennedy and Michelle Rejwan. Film Independent Spirit Award nominee Callum Greene is executive producer. 1st AD is BAFTA Awards winner Tommy Gormley. Academy Award nominee John Schwartzman is DP. "Star Wars: Episode IX" will hit theaters on Dec 20, 2019 with Walt Disney Studios Motion Pictures handling domestic and international distribution.

"Solo: A Star Wars Story" is set to begin filming in January, 2018. Lucasfilm will also start production on Obi-Wan Kenobi Star Wars spinoff in January, 2019. This will be Star Wars Anthology movie based upon the venerable Jedi Knight Obi-Wan Kenobi, with the studio reportedly tapping Stephen Daldry ("Billy Elliot," "The Hours") to develop the project with a view to directing.

Star Wars: Episode IX Casting Calls

Submission Information for Speaking Roles

Click here for details on signing up to be submitted to casting directors for Star Wars: Episode IX.

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Production Companies:

Do NOT send photos and resumes to the production companies, as they will end up being thrown away. They do not cast the films, rather they hire casting directors who sort through the thousands of submissions (see above).

Star Wars: Episode IX Production Office
PLT Productions (UK) LTD
Pinewood Studios
Main Admin Building
Pinewood Road
Iver Heath, Bucks SLO ONH
United Kingdom

Carbonado Industries (UK) Ltd
3 Queen Caroline Street
Hammersmith, London
United Kingdom, W6 9PE

Lucasfilm, LTD
1110 Gorgas Avenue
San Francisco, CA 94129

The Walt Disney Studios
3 Queen Caroline Street
London W6 9PE
United Kingdom

Executive Producer:

Callum Greene

Producers:

J.J. Abrams
Kathleen Kennedy
Michelle Rejwan

Production Manager:

D.J. Carson

Writers:

J.J. Abrams
Jack Thorne

Director:

J.J. Abrams

Cinematographer:

John Schwartzman

Starring:

Daisy Ridley - Rey
Mark Hamill - Luke Skywalker
Andy Serkis - Supreme Leader Snoke
John Boyega - Finn
Oscar Isaac - Poe Dameron
Lupita Nyong'o - Maz Kanata

Story:

The upcoming ninth film in the Star Wars saga and the final film in the sequel trilogy.

Backstage now offering free casting director and talent agency submission labels

Are you serious about your acting career? Do you send postcards to casting directors to announce performances or to invite them to plays? Are you signed with a reputable talent agency? The majority of lead roles in films and starring roles on television shows are cast through talent agents. I can provide you with a completely free set of casting director and talent agent mailing labels, along with a free subscription to Backstage Daily. The labels have current addresses for casting directors and talent agencies, and are updated constantly. Backstage Daily lists casting calls, auditions information, and talent searches for feature films and television series, for all areas. If there is one good piece of advice I can give to actors, it is to take advantage of this opportunity. You can get the free mailing labels and free subscription exclusively by signing up with the following link - http://goo.gl/nX8qDn

If you have any questions, you can contact me at my Verified Facebook Profile - https://www.facebook.com/alanbaltes

You can also follow me at my Verified Twitter Page - https://twitter.com/alanbaltes

Still no 'Best Casting By' award at the Academy Awards

Why don't casting directors have a category for "Best Casting By" at the Academy Awards? To comprehend this issue, you have to have a deep understanding of how the casting process works. Casting directors are contracted by production companies and/or studios to cast specific projects. The casting directors (and their associate casting directors and assistants) filter through massive amounts of submissions for specific roles, mainly through talent agents. The casting directors then audition actors for the specific roles being cast. They then choose what actors that they personally deem "right for the role", at their discretion, and they subsequently advance those actors to a "call back", to audition for the director, writer(s), producers, and for major roles.. the studio executives. Eventually, the right actor for the role is hired. The actor is not hired directly by the casting director, but rather the director/production company/studio. Other than for small speaking roles on TV series, the casting director does not have the ability to hire actors, they simply select a certain group of actors to advance in the casting process. I am not talking about extras. Extras are cast directly by Extras Casting Directors/Companies. For there to be an Academy Award category for principal actor casting directors, the voting members of the Academy of Motion Pictures Arts and Sciences would have to be able to see all of the hundreds (and even thousands) of actor's auditions for each role by the "Best Casting By" nominee, to be able to judge whether or not each casting director nominee did the best job. And just to narrow down the casting nominees, there would have to be a massive amount of that material available to the Motion Pictures Arts and Sciences nominating committee. That is a logistical impossibility. Directors, producers, writers, and studio executives have the final say in who is cast in specific roles, not casting directors. The best casting directors do a great job, and they have a great collaboration with those who do hire the actors, however there is no definitive way to establish a criteria for an Academy Award category for "Best Casting By". I can elaborate much more about the casting process, however that would require much more than I can post here, it would be a complete eBook. I do want to elaborate about why casting directors are never credited in films as a Casting "Director", but rather credited as "Casting By". The Directors Guild of America does not allow, by contract, any other persons on a film being credited with the word "Director", unless they are actually a "director" i.e. 1st AD (First Assistant Director, etc). That includes the Cinematographer (widely called "DP" or "Director of Photography" on the set). Casting directors are some of the hardest working people in the entertainment industry, but there you go, that is why there is no Oscar Award category for "Best Casting By".

2017 Toronto Actors Resource Guide eBook is now available!

The brand new 2017 Toronto Actors Resource Guide eBook is now available! This is the 22nd location in the series, and the eBook contains the most up-to-date, accurate, and comprehensive resources available for actors in Ontario, Canada. There is now a very large amount of major studio feature films and network television series in production in Toronto. The Toronto Actors Resource Guide eBook includes the following information and documents for adults, minors, and foreign talent who would like to work as an actor or extra on film and television productions in Toronto, Ontario and in Canada:

• Toronto Casting Directors
• Toronto Extras Casting Directors
• Toronto Talent Agents
• Toronto Acting Schools and Coaches
• Toronto Headshot Photographers
• General Talent Agent Information
• Miscellaneous Toronto Actor Resources
• Audition Tips
• How to make an Audition Video
• Sample Actors Resume
• Sample Beginning Actors Resume
• Sample Cover Letter Casting Directors
• Sample Cover Letter Talent Agents
• Glossary of Entertainment Industry Terms
• Canadian Work Permit Overview
• Applying for a Work Permit outside Canada
• Canada Work Permit Information for Foreigners
• Canadian Document Checklist for a Work Permit
• Temporary Canadian Foreign Worker Program
• Canadian Application for Temporary Resident VISA
• Canadian Visa Photo Specifications
• Information for Parents of Child Performers
• Canadian Family Information Form
• Canadian Use of a Representative Form
• Guide To Canadian Child Labor Laws

You can now order your copy of the 2017 Toronto Actors Resource Guide eBook for $19.95 through Amazon Payments at the following - http://www.actorsresourceguides.com/toronto-actors-resource-guide-ebook.html

You can also now order using Square Cash (https://cash.me). My email address to send your payment through Square Cash is alan.baltes@gmail.com and my Square Cash username is $AlanBaltes. Simply enter "TORONTO" and your EMAIL ADDRESS in the "FOR" box when sending the $19.95 payment. I can also send a $19.95 payment request if you give me your email address or cell phone number. Contact me at alan.baltes@gmail.com if you would prefer a payment request with a link that you can use to pay.

Once payment is received, your eBook will be emailed to you.

Child Background Acting Information - "Being an Extra"

I personally feel that if a person does not have experience, doing extra work is a fantastic way to get used to being on a film or TV set. It gives you an idea of how things work and allows you to become comfortable on a set without risking "burning bridges" if you get nervous and a little stage fright. I myself did extra work in the beginning of my career and it helped me tremendously. I had terrible stage fright, but I became very comfortable after doing background work for a while. So the answer is yes, doing extra work will help you. It doesn't pay a whole lot, but the experience you get is valuable.

Acting is like any other job, the more training and experience a person has, the better chance of getting the job. But at the same time, we all have to start somewhere!

The following three companies cast the vast majority of child extras in the entertainment industry:

Kids Background
207 S. Flower St
Burbank, CA 91502.
www.kidsmanagement.com
(661) 964-0131

Studio Kids Management
Send Inquiries To Mailing Address
15068 Rosecrans Avenue #198, La Mirada, CA 90638
Office (562) 902-9838 / Fax (562) 902-0498

Screen Children's Casting
4000 W Riverside Dr
Burbank, California, 91505
(818) 846-4300

To get your child started doing extra work, you will need the following:

Work Permit
Coogan account
Social Security Card
Cell Phone (with text messaging) so you can receive your call time and location.

Background Acting Guidelines

* Buy a Thomas Brothers Map Book. The casting people will give you these map coordinates when giving you your call time and location.

* Bring a small folding chair, something to read, sunscreen, a couple of light snacks, a notepad, and two pens.

* Follow the wardrobe instructions and requirements, as you will be checked by the wardrobe department when you arrive on the set. Bring an extra jacket (even if it’s summertime). It's always cold on a sound stage, where you might be working. Ladies, take a pair of flats to wear when not on the set (your feet will thank you).

* ALWAYS show up at least 1/2 hour early. NEVER be late. Allow plenty of time for traffic, etc.

* When arriving at the location, immediately check in with the AD (assistant director), or whoever you were told to check in with. Fill in your name and address on the payment voucher. Make sure to fill in the hours worked and have the AD sign it at the end of the day.

* Never bring cameras or pets unless asked to do so. Also do not bring friends.

* NEVER take photos on the set with your cell phone. If caught, you will be fired and will most likely never work for that casting director again.

* NEVER ask for autographs or bother the actors. This is a professional work environment and not an appearance.

* Network with other background actors. If you obtain one good tip or referral, it could lead to a lot more background acting jobs. More work gives you more opportunities to get the necessary vouchers (three) to qualify to join SAG (Screen Actors Guild). Being a member of SAG gives you benefits you would not have as a non-union extra, e.g. double your pay and medical, dental and vision benefits.

* Always remain alert and ready to go to the set when asked. Do not leave the set unless you are given specific permission from the AD. Do not listen to headphones, as you will not be able to hear the AD when calling you to the set.

* ALWAYS be prepared to stay and work long hours (unless you are a minor, there are child labor laws which prevent minors from working too many hours).

* Pay attention when you are on the set being given your "marks" and "blocking". "Marks" are the spots where you position yourself on the set during filming. "Blocking" is the exact movements you will be making so as to remain in or out of the view of the camera.

* And ALWAYS remain quiet when in a sound stage, especially when filming. "Quiet On The Set" means "QUIET ON THE SET"! The microphones can pick up even the slightest whisper. Also, when the crew is setting up for shots, they need to be focused and hear each other. It can be loud enough for themselves, let alone the chatter of extras on top of it. So do not make noise or talk loudly in between filming.

* NEVER talk badly about anyone on the set, including the actors REGARDLESS of how you may feel about someone. Use tact when speaking about others. It is extremely poor character when speaking badly or disrespectful of or to others. If you hear someone else talking badly, ignore it. If someone speaks badly to or about you, just turn your cheek and do not return the bad character behavior, as the AD may end up only hearing YOU speak badly. Take this advice to heart if you wish to go far in the entertainment industry.

* When being fed lunch or dinner, ALWAYS let the cast and crew members get their food first. This is not because extras are less important, as many people who work on a film set may treat you. This is because the cast and crew need to get back to work as soon as possible, where the extras usually have by far the most "down time".

* And most importantly, HAVE FUN! There are huge egos on a film set. I mean gigantic monster stuck-up HUGE egos, and I'm not talking about just the actors! Take those people with a grain of salt... look at them as kind of like a cartoon character, then you can just smile at them. After all, isn't it pretty ridiculous to have a giant ego anyways? There are many people who will brag and brag about what they have done and what they are doing. There are long periods of standing and waiting. But hey, you are working on a movie or television set! How fun is that!! And you are learning about what happens on a set, becoming more and more comfortable in front of a camera. So enjoy the experience, as it can be VERY exciting.

* If you take my above advice to heart and give background acting your best shot, you'll enjoy it, make money at it and continue to work. And what's more fun than being with people, in the middle of the action and, later, seeing yourself on the silver screen?

Top 3 Acting Camps For Kids and Teens

The frenzy that many children face to get into the right acting school is acute for those who aspire to a career in the performing arts, and attending acting camps can be a steppingstone to Broadway or even Hollywood. The competition among these children, and among the camps vying for their tuition money, is more heated than ever.

According to the American Camp Association, the number of accredited performing arts camps grew to 804 in June 2007 from 527 in December 2001, a jump of 40 percent. Peg Smith, the organization’s chief executive, said the increase could be attributed in part to the elimination of school arts programs and the popularity of films like “High School Musical” and reality shows like “American Idol.”

Theater camp is pushing its way into mainstream pop culture. MTV recently filmed a documentary at the French Woods Festival of the Performing Arts, a camp in Hancock, N.Y. Last month, Disney’s made-for-TV movie “Camp Rock” opened to 8.9 million viewers; a sequel is under way. Not be left out, 19 Entertainment and Fremantle Media, the companies behind “American Idol,” founded Idol Camp, where series castoffs like Bucky Covington hold master classes.

To compete in this marketplace, camps are expected to offer top-notch facilities and professional staff. French Woods recently installed a second recording studio. Last summer, campers at Stagedoor Manor participated in a youth-friendly adaptation of “Sweeney Todd,” with Stephen Sondheim e-mailing changes to the score.


Stagedoor Manor is tops in Acting Camps for Kids

Considered the gold standard of theater camps. Stagedoor, founded in 1975, caps its enrollment at 288 children a session, and spots fill up nine months ahead; campers — from precocious West Virginians to Ron Howard’s daughters — are admitted first come first served (with returning campers getting a first shot). The program is for young performers ages 10-18. Stagedoor Manor located in Loch Sheldrake, New York.

Variety article about Disney and Stagedoor Manor

Playbill article about Stagedoor Manor

Movie Maker article

Notable Alumni:

Mandy Moore
Robert Downey
Natalie Portman
Jon Cryer
Zach Braff
Jennifer Jason Leigh
Amy Ryan
Bijou Phillips
Mary Stuart Masterson
Jennifer Rudin (Director of Casting and Talent Development for Disney Theatrical Productions)

Stagedoor Manor Website



French Woods Festival of the Performing Arts

French Woods, founded in 1970, enrolls at least twice as many children as Stagedoor; over 12 weeks some 2,400 will attend the camp. French Woods is located on a private lake in the western Catskill mountains of New York State near the Delaware river and the Pennsylvania Border.

Campers are able to focus on one particular area of interest, or they may choose to select a variety of activities. We are at the same time, a theater camp, an art camp, a dance camp, a circus camp, a horseback riding camp, a sports camp, a magic camp, and a camp that offers all the traditional camp activities, with world class programs that each child can choose a-la-cart.

Notable Alumni:

Zooey Deschanel
Jon Favreau
Adam Levine
Nat Wolff (The Naked Brothers Band)

French Woods Website



Interlochen Center for the Arts

Interlochen Center for the Arts is a privately owned, 1,200 acre arts education institution in Interlochen, Michigan, roughly 15 miles southwest of Traverse City. Interlochen draws young people from around the world to participate in intensive study of music, theater, dance, art, creative writing, and motion picture arts.

In addition to participating in artistic endeavors, campers also are able to take part in traditional summer camp activities such as swimming, canoeing, sailing, camping, crafts, ping pong, billiards, cook-outs, mixers, trips to Lake Michigan, and playing sports such as soccer and softball in organized leagues, as well as tennis and basketball. Campers live in rustic cabins with up to 16 campers and one or two counselors. Campers begin their day at 6:30 in the morning to listen to announcements for that day, and end their day with slumber tunes. Slumber tunes rotate, and each night a different cabin is responsible to put something together for their cabin mates to fall asleep to.

Notable Alumni:

Felicity Huffman
Tom Hulce
Norah Jones
Kim Kashkashian
Jackson Rathbone

Interlochen Center for the Arts Website


While the average overnight camp costs $400 to $700 a week, according to the American Camp Association, Stagedoor Manor and French Woods charge closer to $5,000 for a three-week session. “Parents want to get quality for their money,” said Jennifer Rudin, the director of casting and talent development for Disney Theatrical Productions (and a Stagedoor alumna herself).

Nothing brings out the self-imposed competitiveness of these campers like a visit from an industry professional. Ms. Rudin of Disney has scouted at Interlochen and refers to Stagedoor as “one-stop shopping.”

Safety Information For Child Actors

The most important concern a parent should have is the well being and safety of their child. Here are some tips that parents should keep in mind in regards to the safety of their child in the entertainment industry:

1. Stop using your child’s social security number on their resume.

It use to be commonplace to use a social security number on a resume so producers, directors and casting directors could refer to you as a number when you go in for an audition. This is no longer the case. When your child signs in for an audition, there will be a spot for their SAG number. If they are not in the Screen Actors Guild, leave the box empty or ask the receptionist if they can use another number.

2. Change your phone number.

Once your phone number is listed, it will remain in online directories and even print directories for a long time. Simply changing it to be unlisted will not stop people from finding it out and calling you at home. Obtain a new number and keep it unlisted.

3. Check your child’s fan mail carefully.

Once your child has appeared on a TV show or in a movie, they will start to get fan letters. While this may seem neat at first, you must be careful when allowing your child to read the letters that come in. Look over the envelopes carefully and notice strange addresses. Letters from prisons oftentimes are marked “Inmate Mail” or have a strange address that looks like a PO box.

4. Take your own digital cards to your photographer.

When it is time to get your child’s photographs done for their portfolio or comp card, ask if you can bring your own digital card for their camera. If the photographer still shoots on film, make sure that their session fee includes giving the negatives to you. By protecting the raw images of your child, you will help prevent their likeness from showing up on online auction sites tomorrow or in years to come.

5. Audit an acting class.

Instead of shelling out the full fee for an acting class you have heard about, ask the instructor if your child can audit their class. Most will say yes. You should be skeptical about those who will not allow your child, and a parent, to sit in on a class or two.

6. Don’t look for agents in the mall.

If you get a flyer asking you to bring your child to the mall to meet with a talent manager, run the other way. Many of these companies make their money by charging outrageous fees for photographers and showcases. They thrive on signing hundreds of kids, hoping one of them happens to make it big.

7. Do your homework.

Never stop learning about the entertainment business. Read books on child actors, auditioning, acting technique, and biographies of former and current child stars. Attend workshops and seminars in your area.

8. Provide a support structure for your child.

During the course of your child’s career, they will turned down many times for different reasons. It is important to have both internal and external support mechanisms for your child to turn to when they need to talk or vent their frustrations.

9. Avoid leaving comments on fan web sites.

While at first it may seem neat when you see the first web site dedicated to your child, but avoid contacting the maker of the site or leaving feedback in a guestbook or forum. Your computer information can be tracked fairly easily, allowing them to get even more personal information.

10. Register your child’s name as a web site domain name.

As soon as your child books that new commercial, TV show or movie, register your child’s name as a “dot com” immediately so somebody cannot steal it out from under you. Registration services are under $10/year at most places, so it will be a cheap investment in your child’s safety.

Most of these items involve common sense, but you will be surprised how easily they are forgotten when your child has a chance at stardom. Keep your wits about you and remember your number one priority is the welfare of your child, not booking the part.

How To Get An Agent For Your Child

There are two types of talent agents, theatrical (television and film) and commercial (for television commercials). Being with the same agency for both is called being "signed across the board," but many actors prefer to have separate agents for different types of work, because some agencies can be better commercially, but not as good theatrically, or vice versa. Agents get information about auditions for roles, either directly from casting directors and producers calling them asking for client submissions, or from a service called "the breakdowns," a daily list of roles being cast, sent only to talent agents. Agents work for you, but they only get 10% - 15% of what your child makes, so that means you need to do 90% of the work - especially when your child is getting started. That means your child should always be professional, be skilled in acting, you should network and let casting directors, producers and directors know about their work & upcoming performances by sending out postcards & invitations, know your child's "type", and make sure you and your agent have an understanding about what kinds of parts they will be submitted for.

The Strategy:

Do not randomly stop by agents offices unannounced, they do not accept personal drop-offs. Avoid calling the office for now. Simply send in an 8" X 10" color photo & resume, along with a brief cover letter. Show the agents that you understand how valuable their time is by keeping the cover letter short & sweet.

Far too many parents end up writing a long cover letter, and the agents end up just trowing it in the "circular file" aka trash can.

This is a sample of a good cover letter:


______________________________________

Your Name
4321 Superstar Street
Beverly Hills CA 90210

Attn: Mr. Agent


Enclosed you will find my photo and resume of my (son or daughter) for your consideration. I am currently seeking theatrical (and/or commercial) representation for (child's name). I will be calling your offices in the next week or so to make sure you have received this package in one piece.


Sincerely,

Star Parent

_____________________________________


Now the agent even has a few moments to actually look at the photo and resume!

Then after about a week, give them a quick call and just say your name, tell them that you sent in a photo and resume of your child, and that you are calling back as you had promised in your letter. They will usually write your name down, and say that they will give you a call if interested, or we are reviewing it, etc. Again, just keep it short and show them that you value their time. They will be pleasantly surprised.

Say something like.....

"No problem, I don't want to take up your time. I just promised I would make sure the package got there in one piece (then pause)"...

They'll either be impressed (and relieved) at the brief conversation, or will be so caught off guard that they'll try to explain further. If they haven't said goodbye, then just repeat a variation of your previous words (always offering them a chance to end the conversation and reinforcing that you know their time is valuable). Agents get tired off so many actors calling and somewhat begging, "can I come in for an interview", or "I am very talented and would be a great addition to your roster". If you follow these steps, keep your letter and conversation brief, the agent will most likely appreciate it.

Call the Better Business Bureau to see if any complaints have been made against the agency.

Tips & Warnings

* Agents making their living by earning a percentage of each job they book for an actor. Do not pay any up-front fees to an agent.

* If you're not happy with the number of auditions or bookings your child is getting, set up an appointment with your agent and discuss what you can do to generate more jobs.

Go to the website link below. It is the Screen Actors Guild Agent list for both SAG franchised and non-franchised agencies in all states:

Click Here for the Screen Actors Guild Talent Agency Database.

You can also check the website below to see which type of agency it is (Adults,Youth,Commercial,Etc.)

Click Here for the Association of Talent Agencies database.

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

Working Hours of Minors In Films and Television

The amount of time minors are permitted at the place of employment within a twenty-four (24) hour period is limited according to age, as follows:

(a) Babies who have reached the age of fifteen (15) days but have not reached the age of six (6) months may be permitted to remain at the place of employment for a maximum of two (2) hours.

(1) The day's work shall not exceed twenty (20) minutes and under no conditions shall the baby be exposed to light of greater than one hundred (100) foot candlelight intensity for more than thirty (30) seconds at a time.

(2) When babies between the age of fifteen (15) days and six (6) weeks of age are employed, a nurse and a studio teacher must be provided for each three (3) or fewer babies. When infants from age six (6) weeks to six (6) months are employed, one (1) nurse and one (1) studio teacher must be provided for each ten (10) or fewer infants.

(b) Minors who have reached the age of six (6) months but who have not attained the age of two (2) years may be permitted at the place of employment for a maximum of four (4) hours. Such four (4)-hour period shall consist of not more than two (2) hours of work; the balance of the four (4)-hour period shall be rest and recreation.

(c) Minors who have reached the age of two (2) years but who have not attained the age of six (6) years may be permitted at the place of employment for a maximum of six (6) hours. Such six (6)-hour period shall consist of not more than three (3) hours of work; the balance of the six (6)-hour period shall be rest and recreation and/or education.

(d) Minors who have reached the age of six (6) years but have not attained the age of nine (9) years may be permitted at the place of employment for a maximum of eight (8) hours. Such eight (8)-hour period shall consist of not more than four (4) hours of work and at least three (3) hours of schooling when the minor's school is in session. The studio teacher shall assure that the minor receives up to one (1) hour of rest and recreation. On days when the minor's school is not in session, working hours may be increased to six (6) hours, with one (1) hour of rest and recreation.

(e) Minors who have reached the age of nine (9) years but who have not attained the age of sixteen (16) years may be permitted at the place of employment for a maximum of nine (9) hours. Such nine (9)-hour period shall consist of not more than five (5) hours of work and at least three (3) hours of schooling when the minor's school is in session. The studio teacher shall assure that the minor receives at least one (1) hour of rest and recreation. On days when the minor's school is not in session, working hours may be increased to seven (7) hours, with one (1) hour of rest and recreation.

(f) Minors who have reached the age of sixteen (16) years but who have not attained the age of eighteen (18) years may be permitted at the place of employment for a maximum of ten (10) hours. Such ten (10)-hour period shall consist of not more than six (6) hours of work and at least three (3) hours of schooling when the minor's school is in session, and one (1) hour of rest and recreation. On days when school is not in session, working hours may be increased to not more than eight (8) hours, with one (1) hour of rest and recreation.

(g) If emergency situations arise, for example, early morning or night exteriors shot as exteriors, live television or theatrical productions presented after the hours beyond which a minor may not work as prescribed by law, a request may be made to the Labor Commissioner for permission for the minor to work earlier or later than such hours. Each request shall be considered individually by the Division and must be submitted in writing at least forty-eight (48) hours prior to the time needed.

(h) When any minor between ages fourteen (14) and eighteen (18) obtains permission from school authorities to work during school hours for a period not to exceed two (2) consecutive days, the working hours for such minor during either or both of such days may be extended to but shall not exceed eight (8) hours in twenty-four (24) hours.

(i) Twelve (12) hours must elapse between the minor's time of dismissal and time of call on the following day. If the minor's regular school starts less than twelve (12) hours after his or her dismissal time, the minor must be schooled the following day at the employer's place of business.

Kid Filmmakers Hosts Summer Camp in Rhode Island Movie Studio

What’s better than a Kid Filmmakers summer camp? A Kid Filmmakers summer camp held in an actual movie studio!

"Kay Studios is the only full-service motion picture company in Rhode Island ," says Kid Filmmaker’s founder and Executive Director Eleyne Austen Sharp. "Producing films in a real movie studio with a giant green screen will be a unique and exciting experience this summer."

Summer Shoot (Monday, July 27, 2009 thru Friday, July 31, 2009) is a working movie production unit. Held from 9 AM-4 PM at Kay Studios, 66 Valley Street in East Providence , Summer Shoot offers an intensive full-day curriculum for beginning and returning filmmakers, i.e. hands-on instruction in acting, animation, directing, editing, lighting, sound, makeup, screenwriting, set design and videography. Each crew (divided by age) will produce a documentary about peace or ecology, a Kid Filmmakers commercial, a silent film and drama, comedy or musical. Selected projects will appear on the Kid Filmmakers YouTube channel.

"Summer Shoot provides nearly 1800 minutes of professional filmmaking instruction in just 5 days," says Sharp. "The camp introduces young filmmakers to the Hollywood moviemaking experience, from planning and budgeting to getting the 'green light' from the studio, casting and producing the movie." Additionally, Summer Shoot offers daily movie screenings, production meetings and special guest speakers.

Space is available for 25 registrants, ages 10-15 years. Early Bird Registration is $325 per participant ($295 for returnees and Kid Filmmakers Club members) until March 1, 2009. After the Early Bird deadline, general registration is $365 per participant ($335 for returnees and Kid Filmmakers Club members). Registration includes a DVD copy of film projects and certificate of completion.

Now celebrating its eighth year, Kid Filmmakers is a traveling filmmaking academy for children, available year-round to schools and organizations for after school, weekend and summer programs. Faculty members are experienced film industry professionals with credits from MGM Pictures, Paramount , Warner Brothers, Dreamworks, Discovery Channel, NBC, PBS, ESPN, TNN, Turner Broadcasting, AOL/Time Warner and more.

For details, call (401) 294-4922 or write to: Eleyne Austen Sharp, Executive Director, Kid Filmmakers, P.O. Box 12 , Newport , RI 02840-0001 or visit the website at:

www.kidfilmmakers.com

On Set Studio Teachers

Employers shall provide a studio teacher on each call for minors from age fifteen (15) days to their sixteenth (16th) birthday (age sixteen (16)), and for minors from age sixteen (16) to age eighteen (18) when required for the education of the minor. One (1) studio teacher must be provided for each group of ten (10) minors or fraction thereof. With respect to minors age fifteen (15) days to age sixteen (16), one (1) studio teacher must be provided for each group of twenty (20) minors or fraction thereof on Saturdays, Sundays, holidays, or during school vacation.

The studio teacher, in addition to teaching, shall also have the responsibility for caring and attending to the health, safety and morals of minors under sixteen (16) years of age for whom they have been provided by the employer, while such minors are engaged or employed in any activity pertaining to the entertainment industry and subject to these regulations. In the discharge of these responsibilities, the studio teacher shall take cognizance of such factors as working conditions, physical surroundings, signs of the minor’s mental and physical fatigue, and the demands placed upon the minor in relation to the minor’s age, agility, strength and stamina.

The studio teacher may refuse to allow the engagement of a minor on a set or location and may remove the minor therefrom, if in the judgment of the studio teacher, conditions are such as to present a danger to the health, safety or morals of the minor. Any such action by the studio teacher may be immediately appealed to the Labor Commissioner who may affirm or countermand such action.

The payment or salary of the studio teacher shall be paid by the employer.

Beginners Resume For Child Actors

I am often asked about what to put on a child's resume when they have little or no experience. Well, we all have to start somewhere. When I first started acting, I only had some extra work that I had done. And I still landed an agent. Some people may say to lie. DO NOT lie! The business side of the entertainment industry is a tight knit community, and you will most likely be caught. You do not want to burn bridges in this business, especially when you are first starting out.

So here is a sample of what you should put down on your child's resume when they are starting out:

(NEVER list your home address or the school they attend if you are a minor for safety reasons)

____________________________________________________________

Savannah Starlet

(your email address here)
(your phone number here)

Date of Birth: 06/15/1998
Height: 4'11"
Weight: 92 lbs
Hair Color: Brown
Eye Color: Green

Acting & Modeling Objectives:

Films
TV Shows
Commercials
Commercial Print


Experience:

Class Skits-

Anne Frank-Mrs. & Mr. Van Dann.


Training:

High School Drama Club


Special Skills, Talents & Hobbies:

Singing, Dancing, Drawing, Ballet, Soccer, Ice Skating, Basketball, Swimming, and Cheerleading. Like to hang out with friends, and volunteer for things to help people and animals.

____________________________________________________________

That's it! You see, if a casting director really REALLY likes their photo and look, they will call them in. Regardless of experience, or if you are in the Screen Actors Guild or AFTRA.

California Coogan Law Information

Coogan Act History

In 1919, five year-old Jackie Coogan (1914-1984) got his big break, landing a role opposite Legendary actor/director Charlie Chaplin in “A Days Pleasure”. Two years later, Chaplin hired Coogan again for “The Kid”. The film was a huge success and Jackie Coogan became the world’s first major child superstar. With fame came fortune, and for decades Jackie Coogan held the record of being the youngest millionaire in history. He earned an estimated $4 million as a child star. Unfortunately for Jackie, in the 1920’s there were no restrictions on how children in film were to be treated. In addition to improper treatment on set, (one director reportedly threatened to shoot Jackie’s dog to get him to cry), in 1938 Jackie was forced to sue his mother and step-father for what was left of his earnings. The court decided that Jackie had no right to his income due to his age at the time he earned it. The public uproar over this situation caused California to pass “The Coogan Act” in 1938.

The Coogan Law preserves a portion of a child performer’s earnings until that child reaches adulthood. The act has been revised a few times since 1938, most recently on January 1st, 2004.

What is a Coogan Account?

A “Coogan Trust Account” is a blocked trust account that is established at a qualified financial institution in California that is insured at all times by either the FDIC, SIPC or NCUSIF.

Under California law, whenever a minor renders artistic services, employers are required to deposit 15% of gross earnings directly into the minor’s “Coogan (blocked trust) Account”. The monies placed in trust cannot be touched by anyone until the minor turns 18 or becomes legally emancipated. Parents or Legal Guardians are required to establish a Coogan Trust Account within seven business days after a minor’s employment contract is signed, and to provide the minor’s employer with a copy of a trustee’s statement (evidencing proof of the account) within ten (10) business days after the start of employment. credit union, brokerage firm, or company registered under the Investment Company Act of 1940. To view a partial list of qualified financial institutions. For more information on Californias’ Coogan Law.

Coogan Account Update

On January 1st, 2004, the California Coogan law was amended. The following changes are now in effect:

Actors Fund of America

If a parent, guardian or trustee fails to provide the minor’s employer with a trustee’s statement within 180 days after the start of employment, the employer shall forward the set-aside funds to the Actors Fund of America (a non-profit organization that provides services to performers in the entertainment industry). The Actors Fund shall become the trustee of such funds until the parent/guardian produces the trustee statement, the minor turns 18, or the minor becomes legally
emancipated.

Entertainment Work Permits void without Coogan

California entertainment work permits are now void 10 business days after the date of issuance unless a copy of the trustee’s statement evidencing the establishment of a “Coogan Trust Account”, for the benefit of the minor, is attached.

Child Work Permit Information

A minor desiring to be employed in the entertainment industry must obtain an Entertainment Work Permit. The application for permit can be obtained at any of the Division's District offices. The minor must provide the information called for on the application, to-wit: his/her name, age, birth date, address, sex, height, weight and color of hair and eyes. In addition, such minor must obtain verification in writing from the appropriate school district of the minor's school record and attendance, and must satisfactorily meet the requirements of that school district with respect to age, school record, attendance and health. Such verification of school record and attendance and proof that the school district's requirements with respect to age, school record, attendance and health have been met must be filed with the Division, concurrently with the filing of the application. Such verification and proof may be in any form as provided by the school district if reasonably demonstrative of the information required to be furnished by this subsection. The Division may require in appropriate cases a physical examination of the minor to ensure that the minor's physical condition permits the minor to perform the work or activity called for by the Permit to Employ Minor and Entertainment Work Permit.

Upon the filing by a minor with the Division of a completed Application for Entertainment Work Permit satisfying the requirements of this Section, the Division shall issue an Entertainment Work Permit to such minor. Such permit shall permit the minor to work only under the conditions prescribed by these regulations and in conformity with all provisions of law governing the working hours, health, safety, morals and other conditions of employment of minors. The permit shall be for a period not to exceed six (6) months, and application for renewal must be made in the same manner and under the same conditions as the original permit.

Typically, after an employer agrees to hire a minor, the minor obtains from his or her school a Department of Education form entitled "Statement of Intent to Employ Minor and Request for Work Permit". The form must be completed by the minor and the employer and signed by the minor's parent or guardian and the employer. After returning the completed and signed form to the school, school officials may issue the permit to employ and work.

Permits issued during the school year expire five days after the opening of the next succeeding school year and must be renewed.

Click Here for Statement of Intent to Employ Minor and Request for Work Permit.

Click Here for Child Work Permit Application.

Click Here for I-9 Form.

In general:

• Most states require a letter from your child’s school indicating that the child is in good academic standing before they will issue a permit.
• You must also have a copy of your child’s birth certificate available.
• Always check with your local school and your State’s Department of Labor regarding employment in your area.

For more information about your state’s laws in relation to the employment of minors visit the following websites:

Alabama: http://www.alalabor.state.al.us/CD/Movie%20Release.pdf
http://www.alalabor.state.al.us/PDFs/Work_Permit_Application.pdf

Alaska: http://labor.state.ak.us/lss/childlaw.htm
http://labor.state.ak.us/lss/lssforms.htm

Arizona: http://www.azcommerce.com/Film/Child+Labor+Laws+(Arizona+Youth+Labor+Law).htm

Arkansas: http://www.arkansas.gov/labor/divisions/labor_standards_p1.html

Colorado: http://www.coworkforce.com/emp/know_your_rights.asp

Connecticut: http://www.ctdol.state.ct.us/wgwkstnd/faqs-minors.htm

Delaware: http://www.delawareworks.com/industrialaffairs/services/LaborLawEnforcementInfo.shtml

Florida: http://www.state.fl.us/dbpr/reg/childlabor/index.shtml

Georgia: http://www.dol.state.ga.us/em/child_labor.htm

Hawaii: http://www.hawaiifilmoffice.com/film-permitting/filming-regulations/child-labor-law

Idaho:
http://cl.idaho.gov/Portal/ICL/aliasjobservice/tabID4980/DesktopDefault.aspx
http://www3.state.id.us/idstat/TOC/44013KTOC.html

Illinois: http://www.ilga.gov/commission/jcar/admincode/056/05600250sections.html

Indiana: http://www.in.gov/labor/childlabor/

Kentucky:
http://www.oet.ky.gov/des/pubs/jobser/childlabor.pdf
http://www.labor.ky.gov/ows/employmentstandards/childlaborlaw/

Maine: http://www.maine.gov/labor/labor_laws/wagehour.html

Maryland: http://dllr.state.md.us/labor/empm.html

Massachusetts: http://www.ago.state.ma.us/sp.cfm?pageid=1119

Michigan: http://www.michigan.gov/documents/Work_Permit_FACT_SHEET_July_2006_169123_7.pdf

Minnesota: http://www.doli.state.mn.us/childlbr.html

Mississippi: http://www.mdes.ms.gov/wps/portal#null

Missouri:
http://dolir.missouri.gov/ls/brochures/11-AI.pdf
http://www.dolir.mo.gov/ls/childlabor/

Montana: http://erd.dli.mt.gov/laborstandard/wagehrchild.asp

Nevada: http://www.leg.state.nv.us/NRS/NRS-609.html

New Hampshire: http://www.labor.state.nh.us/youth_employment.asp

North Carolina: http://docsouth.unc.edu/nc/rules1933/rules1933.html

Oklahoma: http://www.ok.gov/~okdol/wh/ChildLabor/CHILDLABORSTATUTES.HTM

Oregon: http://www.boli.state.or.us/BOLI/WHD/CLU/index.shtml

Pennsylvania: http://www.dli.state.pa.us/landi/CWP/view.asp?a=185&Q=58124

Rhode Island: http://www.dlt.ri.gov/ls/childlabor.htm

South Carolina: http://www.llr.state.sc.us/Labor/wages/index.asp?file=childlabor.htm

South Dakota: http://www.state.sd.us/dol/dlm/dlm-home.htm

Tennessee: http://www.state.tn.us/labor-wfd/childlab.html

Texas: http://www.twc.state.tx.us/ui/lablaw/cllsum.html

Utah: http://www.laborcommission.utah.gov/Utah_Antidiscrimination___Labo/Employment_
Standards/Employment_of_Minors/employment_of_minors.html

Vermont: http://www.labor.vermont.gov/

Virginia:
http://www.dli.state.va.us/infocenter/publications/laborlaws/guideforteens_web.pdf
http://www.dli.state.va.us/whatwedo/labor_law/childlabor_faq.html

Washington State: http://www.lni.wa.gov/WorkplaceRights/TeenWorkers/default.asp

Wisconsin: http://www.dwd.state.wi.us/er/labor_standards_bureau/child_labor_laws.htm

Screen Actors Guild and American Federation of Television and Radio Artists

All of the Disney Channel television shows are under the jurisdiction of the performers union AFTRA - "American Federation of Television and Radio Artists". Your child can still work on an AFTRA show as an actor or extra, however they will be required to join AFTRA after 30 days from the date of first employment on an AFTRA show.

Joining AFTRA increases your child's chances of getting auditions, and could help them get into SAG - "Screen Actors Guild". That is how I got into SAG. After being a member of AFTRA for one year, and if you get a speaking part (even one word) on an AFTRA show, you become eligible to join SAG. It is one way to get into SAG.

You can just walk in to any AFTRA office and buy your membership.

The details are on this website:

http://www.aftra.org

AFTRA - American Federation of Television and Radio Artists

The American Federation of Television and Radio Artists (AFTRA) is a national labor union representing over 70,000 performers. This was my first union. The first union that a person joins becomes your "Parent Union". Unlike the other performers' unions, anyone can walk in off the street and join AFTRA. This union is newcomers' and inexperienced actors best bet to become eligible to join the other unions. You still must obtain a speaking or "principal" role within AFTRA's jurisdiction at some point in order to join SAG or the other unions, but at least you can "buy" the membership without prior experience. AFTRA has jurisdiction over Soaps, many Sitcoms, news/sports/weather broadcasts, radio, sound recordings, talk shows, variety shows, documentaries, game shows, and various multimedia broadcasts. Once you obtain a principal role (speaking, stunts, dancing or singing), then you are "eligible" to join the other unions. But only after you have been a paid-up member of AFTRA for one year.

New members must complete an application and pay a one-time initiation fee and dues for the current dues period. The initiation fee is $1,300 and, as of September 1, 2008, minimum dues are $63.90.

SAG - Screen Actors Guild

Screen Actors Guild is the nation's largest labor union representing working actors. Established in 1933, SAG has a rich history in the American labor movement, from standing up to studios to break long-term engagement contracts in the 1940s to fighting for artists' rights amid the digital revolution sweeping the entertainment industry in the 21st century. With 20 branches nationwide, SAG represents nearly 120,000 working actors in film, television, industrials, commercials, video games, music videos and other new media. The Guild exists to enhance actors' working conditions, compensation and benefits and to be a powerful, unified voice on behalf of artists' rights. Headquartered in Los Angeles, SAG is a proud affiliate of the AFL-CIO. The Screen Actors Guild is associated with the Associated Actors and Artists of America (AAAA), which is the primary association of performer's unions in the United States. The AAAA is affiliated with the AFL-CIO. SAG claims exclusive jurisdiction over motion picture performances, and shares jurisdiction of radio, television, Internet, and other new media with its sister union AFTRA.

How To Join SAG

A performer becomes eligible for Screen Actors Guild membership under one of the following two conditions: proof of SAG employment or employment under an affiliated performers’ union.

1. Proof of Employment

a. Principal Performer Employment - Performers may join SAG upon proof of employment. Employment must be in a principal or speaking role in a SAG film, videotape, television program or commercial. Proof of such employment may be in the form of a signed contract, or original pay stubs. The document proving employment must provide the following information:
— applicant’s name
— applicant’s Social Security number
— name of the production or name of the commercial (product name)
— the salary paid (in dollar amount)
— the specific date(s) worked.

b. Background Actors may join SAG upon proof of employment as a SAG–covered background player at full SAG rates and conditions for a MINIMUM of three work days subsequent to March 25, 1990. Employment must be by a company signed to a SAG Agreement under which the Producer is required to cover background actors. Proof of employment must be in the form of original paystubs or a payroll printout faxed from the payroll house. Such documents must provide the same information (name, Social Security number, etc.) as listed above.

2. Employment Under an Affiliated Performers' Union

Performers may join SAG if the applicant is a paid-up member of an affiliated performers' union (ACTRA, AEA, AFTRA, AGMA or AGVA) for a period of one year and has worked and been paid for at least once as a principal performer in that union’s jurisdiction.

To join SAG, a performer must pay an initiation fee of $2,277, plus the first semi-annual basic dues payment of $58. Thus, the total fee to join is $2,335.

Division of Labor Standards Enforcement District Offices For Obtaining Child Work Permit

Bakersfield 5555 California Avenue, Suite 200 Bakersfield, CA 93309 (661) 395-2710 (661) 859-2462	Redding 2115 Civic Center Drive, Room 17 Redding, CA 96001 (530) 225-2655 (530) 229-0565	San Jose 100 Paseo de San Antonio, Room 120 San Jose, CA 95113 (408) 277-1266 (408) 277-3711
El Centro 1550 W. Main St. El Centro, CA 92243 (760) 353-0607 (760) 353-2544	Sacramento 2031 Howe Avenue, Suite 100 Sacramento, CA 95825 (916) 263-1811 (916) 263-5378	Santa Ana 605 West Santa Ana Blvd., Bldg. 28 Santa Ana, CA 92701 (714) 558-4910 (714) 558-4574
Eureka 619 Second Street, Room 109 Eureka, CA 95501 (707) 445-6613 (707) 441-4604	Salinas 1870 N. Main St., Suite 150 Salinas, CA 93906 (831) 443-3041 (831) 443-3029	Santa Barbara 411 E. Canon Perdido, Room 3 Santa Barbara, CA 93101 (805) 568-1222 (805) 965-721
Fresno 770 E. Shaw Avenue, Room 315 Fresno, CA 93710 (559) 244-5340 (559) 248-8398	San Bernardino 464 W. Fourth Street, Room 348 San Bernardino, CA 92401 (909) 383-4334 (909) 889-8120	Santa Rosa 50 "D" Street, Suite 360 Santa Rosa, CA 95404 (707) 576-2362 (707) 576-2459
Long Beach 300 Oceangate, Suite 302 Long Beach, CA 90802 (562) 590-5048 (562) 491-0160	San Diego 7575 Metropolitan Dr., Rm. 210 San Diego, CA 92108 (619) 220-5451 (619) 682-7221	Stockton 31 E. Channel Street, Room 317 Stockton, CA 95202 (209) 948-7771 (209) 941-1906
Los Angeles 320 W. Fourth Street, Suite 450 Los Angeles, CA 90013 (213) 620-6330 (213) 576-6227	San Francisco 455 Golden Gate Ave., 10th Floor San Francisco, CA 94102 (415) 703-5300 (415) 703-5444	Van Nuys 6150 Van Nuys Blvd., Room 206 Van Nuys, CA 91401 (818) 901-5315 (818) 908-4556
Oakland 1515 Clay Street, Suite 801 Oakland, CA 94612 (510) 622-3273 (510) 622-2660	San Francisco--Headquarters 455 Golden Gate Avenue, 9th Floor San Francisco, CA 94102 (415) 703-4810

Coogan Account Resources

AFTRA/SAG CREDIT UNION (for union members)
With three area branches to serve union members, the AFTRA/SAG Credit Union offers low cost and "actor friendly" services. This is a wonderful place to establish your child's credit. Just mention "The Coogan Law."
(818) 562-3400, Monday-Thursday 8:00 a.m.-5:00 p.m.
Friday 8:00 a.m.-6:00 p.m. (PT)
Toll-free outside Los Angeles
(800) 826-6946
Overseas
(818) 562-3400
AFTRA-SAG Federal Credit Union

WELLS FARGO BANK
These folks have been "with it" when it comes to the New Coogan rules from the beginning. Wells Fargo has branches all over the place, but you will find a particular welcome at the Toluca Lake Branch. Just mention "The Coogan Law."
Emlyn Gamboa
Wells Fargo Toluca Lake, California
New Accounts
323-634-1600 or
323-634-1603
Wells Fargo Online

WELLS FARGO BANK
Teresa Chandler
Vice President, Branch Manager
1300 4th Street
(4th and Arizona)
Santa Monica, CA 90403
Tel: 310-393-0443

BANCO POPULAR NORTH AMERICA
Frances Marie Maizland
Santa Clarita Branch Manager
27931 Kelly Johnson Parkway
Santa Clarita, CA 91355
Tel: 661-775-3966
Fax: 661-775-2763

FULL RANGE BROKERAGE SERVICES
Many of our most sophisticated families are opting for the higher returns and personal service of major investment firms. Broadly based mutual funds are allowed under The New Coogan Law. Professional Financial Advisors come with the packages offered by these firms and it is the wise family that recognizes each component of the investment picture, not just for their working children, but the entire family. Remember that an investment firm usually has cooperative arrangements with banks and savings and loan institutions and there is no limit to the number of Coogan Accounts a child might own or how their money may be invested. There can be No Withdrawals in a Coogan Account, but the transfer of funds is allowed.

PAINEWEBBER
Dan Ayers
Financial Advisor
Redlands, CA
Tel: 800-458-7384
Tel: 909-335-2134
Fax: 909-793-8049

WADDELL & REED
Daralee Barbera, CFP, CMFC,
Division Manager &
Mario Vinci, CFP,
Financial Advisor
Tel: (714) 437-7510
Fax: (714) 437-7515
Waddell & Reed Financial Services

NORTHWESTERN MUTUAL FINANCIAL NETWORK
Mr. Jack B. Weinstock, CLTC
Financial Representative
110 S. Juanita Ave. Unit 4
Redondo Beach, CA 90277
Tel: 310-543-9156
CA Lic. #0C82715
This company has consistently been recognized as one of the top management asset companies in the world, and we welcome their interest in the world of Coogan.