There’s No Such Thing as a Self-Made Success

What if you won the lottery? The really big one.
Would you take a different approach to your career? You might take more risks knowing you had a safety net. What if, as a child, you went to a private school for gifted students? You might have more confidence. So the next time you compare yourself with someone who’s more “successful”, remember they got there because they had help – as far back as a well-supported childhood.
 
 

For most of my life I’ve worked in a “dysfunctionally independent” manner. I foolishly believed that if I asked for help, it meant that I was

Fifth Grade Me

incapable or lazy. I actually believed that successful people were those who only did everything on their own. If it’s meant to be, then it’s up to me! …..right? When I was a working in Chicago, I had it in my head that if I took a class from a casting director, then I was “cheating”. For me, the only way to be a respectable actor was to get an agent, audition, and prove myself worthy with a long resume. Yeah…

In preparation for my move to L.A., I took an on-camera class from a casting director’s assistant, but never expected him to help me. Turns out, that’s how life works. While I did well at my first TV audition, it was his good word to the CD that tipped the scales in my favor, and I got the job. (Some gal named Tina Fey was also up for that role. I wonder whatever happened to her?)
 

Once I landed in L.A., a friend turned me on to CD workshops, and by gum, they worked! Later, an acquaintance cast me in a staged reading of his screenplay which got me an audition/booking for a national commercial! So random. An old friend from Chicago got wind of my little successes and walked me into her agency where I landed an agent! Then the dry spells came, then success, then – you know the drill. I started to wonder if there was something missing, something that I still didn’t know? At my age, what else could there possibly be? Turns out, a lot.
 
So I invested in career coaching. I used a system that worked well for awhile, but doing the same thing over and over again, hoping for different/better results eventually lost its flavor. Without knowing were to go next, I released the need to figure it out. And as life would have it, a perfectly timed email arrived in my inbox that gave me my answer.
 
I immersed myself in a higher level of coaching. It taught me the difference between being a “list doer” and being an explorer. When we explore, we learn through real-life experience. We move from knowing about something to actually knowing something. My decisions came more quickly, my creative flow became easier, and my definition of success completely changed. But it’s not just the exploration that brought me rewards. It was the letting go of the idea that everything was solely up to me.
 
I no longer resist the undeniable give-and-take between me and my wisdom, all of mankind, and the Universe.

Overworked and Unpaid

Recently, I read the article, Dear Hollywood: We Don’t Want to “Go Back to Normal.” Normal Wasn’t Working. While it was written from the perspective of a professional crew person dealing with insane hours, on-set bullying, and impossible expectations, it made me look to see how actors were affected – specifically with commercial auditions. While the author’s complaints were legitimate (thousands have agreed with him), one could say “Well, at least he was getting paid”. Actors don’t get paid for auditions, but it absolutely is work.
 
I’m not here to suggest paid auditions. I knew the deal before embarking on this career, but back in the day, we had higher earning potential. I missed the “golden era” where an actor could buy a house from one commercial. Four years ago, I did two national network commercials – a car company and an insurance company, arguably big money clients – but my combined pay was lower than the national poverty level.
 
Since Quarantine, there are fewer auditions, but commercial casting directors are accepting more and more self-tapes. The ad agencies’ audition demands have moved from the casting offices, to the actor’s home. Not only are we freely giving these ad agencies our talent in the form of auditions (also giving them new script ideas in the process), but now we’ve become unpaid session runners, location scouts, editors, and DPs. And here’s the kicker: ad agencies have yet to sign on to safety protocols recommended by our union. So even after jumping through hoops with self-tapes and editing, we’re not even guaranteed a safe set.
 
Who needs actors? More and more we’re seeing auditions requiring real families, friends or couples who are quarantined together with “no experience necessary”. I used to feel a camaraderie with actors who booked, because I knew they pounded the pavement on the regular, but now we’re seeing non-actors booking spots – not by luck, but merely because they live with a professional actor.
 
“Great occasions do not make heroes or cowards; they simply unveil them to our eyes. Silently and imperceptibly, as we wake or sleep, we grow strong or weak; and at last some crisis shows what we have become.” Brooke Foss Westcott
 
Sure, the current conditions give ad agencies a good excuse. But just like the article mentioned above, the industry is growing comfortable asking us to do more (like re-shoot auditions, record different angles, submit within 24 hours, etc.) Capitalizing on our fears, the industry expects us to ask, “How high?” whenever they tell us to jump. Home schooling will begin soon, but the demanding audition requests will continue, because they assume we have more time and that we we’re desperate and grateful for any crumb of an opportunity to work.
 
Whenever I look back to why I became an actor, I’m reminded of my truth: I’m an artist who mirrors human behavior within the human condition. It has nothing to do with television commercials. I look forward to navigating what is next with grace, and with my dignity in tact.
 
“In every crisis, doubt or confusion, take the higher path – the path of compassion, courage, understanding and love.” Amit Ray 

 

 

LAW #1 Infinite Creativity

Get Out of Your Head

Get Out of Your Head

Get out of your head and you will have access to infinite possibilities. How many times have we been told, “Get out of your head”? The problem is, the harder we try, the more we’re sure to stay in it. When our minds are occupied by thoughts of trying  to think ahead or trying to find the joke/game or what furthers the plot, we are no longer open to every possibility. So what to do? Get out of your head and get into  . . . the now.  You might ask: But if I get out of my amazing memory of impressive facts, how can I wow the audience with quick wit and pop culture trivia? Or, how can I make the scenes relevant without implementing current events and philosophical references? Personally, I hate when a stage gets littered with “clever clutter”. It’s a guaranteed sign that the actors don’t trust the scene. The 13th century poet and mystic, Rumi, said, “Sell your cleverness and buy bewilderment.” Observe the artist who successfully suspends their rational, linear mind andmoves ‘into the zone’. It’s when your thinking mind lures you out of the zone – out of the “now” –that you resort to the clutter. Be present. Look at your partner. Look at them entirely. Really look at them. (Or really feel them.) When you get into the present, your mind stops, and everything that is important rises to the surface. Compare the hyperactive dispensing of cleverisms to a string quartet where the musicians are banging on their instruments. If the “chatter” is noisy, then no one will notice the subtle pluck of the perfectly tuned viola. That subtle pluck could be what takes you to the next level of relationship and scenic progression. That subtle pluck was probably the heart of the scene. If you’d rather make a joke, then that subtle pluck will never be heard.