Archive for June, 2008


“Unraveling the Mystery of Monologues” – Della Cole





NEW DATE!!  yourACT FOCUS Series – JULY 24TH – Della Coleintroduces her NEW BOOK, Unraveling the Mystery of MONOLOGUES“!


yourACT periodically has FREE evenings, open to anyone, that we call the yourACT FOCUS Series, in which we focus on a particular aspect of the industry.  They have a very special event planned for you, featuring yourACT’s very own Della Cole.  Due to publishing delays, the event has been moved to Thursday, July 24th.


WHEN:  7:30-9pm, THURSDAY, JULY 24TH

WHERE: Sketchworks Theatre

WHO: Della Cole will be our special “guest”.

WHAT: Introducing Della’s NEW BOOK, “Unraveling the Mystery of MONOLOGUES: A Resource for Actors”. 

At the event, selected actors will showcase monologues from Della’s new book, “Unraveling the Mystery of MONOLOGUES: A Resource for Actors”, and she will speak about preparing your monologue for Big Break Hollywood (actors will be performing monologues for the Celebrity Panel in August).  Della will also coach actors from the audience who volunteer to have their prepared monologue critiqued and directed. 

No reservations are being accepted–approximately 120 seats are available.  (The monologues are for adults, so no kids or teens, please.)


The book includes over 50 dramatic and comedic monologues for men and women, with tips on how to approach them, plus a detailed training section on every aspect of monologues–from how to choose the best monologue to how to handle the audition.  Della traveled to Los Angeles to interview agents, managers, and casting directors about what they like and don’t like in monologue auditions, and she has included their quotes and Atlanta agents’ comments in her book. The Foreword is by renowned L.A. acting coach Margie Haber.



 FINALLY here’s a book that has smart, well-written, funny, emotional, ORIGINAL monologues.  Also, coming from both a teacher’s and an actor’s point of view, Della walks us through what makes a monologue work.  

–MARGIE HABER, L.A. Acting Coach


As a busy Los Angeles Talent Manager and Feature Film producer, I am constantly exposed to material, scripts, monologues, treatments.   So when I am listening to an actor do a monologue, the quality of the material matters a lot. I am a professional responding, or not, to that abstract quality that catches my attention and spirit.  A good monologue for this reason is best if it is not something I have heard over and over.  Ideally the circumstances of the piece have a clear and simple through line.  I appreciate that this book has developed material that is solid and actable.

STEVEN NASH, Arts and Letters Management, Arts and Letters Entertainment, Los Angeles



For best evaluation we like a piece that’s suited to age and demographic. Contemporary strongly preferred rather than theatre monologues they “just love” or have in their repertoire. We tend to favor those that show some range emotionally and that we can connect with – the ones that end up “pulling us in”. It goes without saying that the monologue needs to be real and have a natural feel in order for that to happen.

–MYSTIE BUICE, Owner, Agent, Houghton Talent,



I think monologues should take you from one emotion to another, or from a lack of emotion to emotion. To me, that shows your ability and range. I do not like pieces that are so cute they mask your acting and rely on the script to engage the listener. I want to be engaged by the actor, touched by the story they tell in a short, age appropriate, unadorned piece that leaves me speechless. That’s not asking too much, is it? Well, it’s your chance to win me over in one monologue, so perhaps not.


SALLY NEAL, Houghton Talent, Atlanta


Overcome your fears and come learn more about something that every actor needs–a MONOLOGUE!


What constitutes a principal performance?

For the times when you work as an extra and wonder if you should be considered a principal, use this checklist from SAG to reference what constitutes a principal performance.   

A. Anyone who is seen and who speaks a line or lines of dialogue. 

B. Anyone whose face appears silent, alone in a stationary camera shot, and is identified with the product or service.
C. Anyone whose face appears silent and is identifiable and whose
foreground performance demonstartes or illustrates a product or service or illustrates or reacts to the on or off-camera narration or commercial message – not someone who appears in the foreground solely as atmosphere.
D. Anyone who is the subject of a
E. Clowns in proprietary makeup (with certain restrictions)
F. Stunt performers (with certain restrictions)
G. Specialty dancers and specialty acts (with certain restrictions)
H. Anyone whose voice is used off-camera except “omnies”.
I. Person appearing in stop action, squeeze action or still photos
J. Anyone operating puppets or marionettes (with restrictions)
K. Pilots (with restrictions)
L. Featured foreground performance by specialty acts, specialty dancers or stunt performers (with restrictions)
M. Certain performances that are not utilized in a commercial (with restrictions)
N. Members of public who appear in testimonial or hidden camera commercials, non-professionals, minors etc. (with restrictions)
O. Group dancers (with restrictions)




New Session begins next Tuesday — JULY 1!!



Cost:  $210

Actors will:

– gain insight into their own strengths and weaknesses as actors

– receive thorough, detailed feedback

– increase their self-confidence for auditions and bookings

– be encouraged to take risks in their work

To reserve your spot now: 310-308-1868

Questions?: Contact Charles Van Eman –


About Charlie:

With over 25 years as a film and stage actor in both L.A. and New York, Charles Van Eman brings a veteran – and working – actor’s perspective to this on-going workshop.  A partial list of credits includes: PRISON BREAK, CSI MIAMI, GHOST WHISPERER, ALL MY CHILDREN, and THE COLBYS.


Private lessons with Michael H. Cole

Private lessons with Michael H. Cole


Michael is a highly recommended instructor with nearly 30 yrs. of experience in acting, directing, instruction and stage design.  He uses a “hands-on” approach for his lessons, giving you the time to work in front of the camera for auditions and film techniques, and is capable of catering the lesson to your specific needs.

Cost is $75 for a 1 1/2 to 2 hour session. (cash or check) 

Video taping and playback with review included. Transfer to DVD also available upon request with minimal fee.

Location: 4650 Flat Shoals Parkway, Decatur Ga. 30034.  This is the location of The Renaissance Project where Michael is the Producing Artistic Director.

Availability: 24/7 to include short notice to prep for a next day audition or shoot.

Contact by email:


In the 2002 edition of Who’s Who of American Teachers, Michael was honored for his work as a high school theatre teacher. He is a principle actor in film and stage, with most recent film credits in Tyler Perry’s Meet The Browns with Angela Bassett, Lynch Mob with Tony Darrow from “The Sopranos”, Fate with Lee Majors as well as television in the One Tree Hill as Bevin’s Father and “A Second Chance” for PBS. He has been involved in over fifty theatrical productions, most recently in Georgia Ensemble Theatre’s Of Mice and Men as Candy and Scrooge in The Renaissance Project’s A Christmas Carol.   He also appears regularly in television commercials, industrial videos, and voice-over work for radio and television. Michael has written eighteen produced plays, and has directed the video production of nearly a dozen stage shows for television. He is currently the Producing Artistic Director of The Renaissance Project Theatre Company and has been an instructor for last eight years at The Professional Actors Studio in Atlanta for film and television. Michael teaches seminars for organizations to develop local theatrical organizations and support the arts in communities. It is Michael’s belief “that every actor deserves a chance.”


How bad do you want it?

It’s been awhile since I last posted. Today I want to address the overall preparedness of the actors I see when I run camera. Disclaimer: my posts are never directed at anyone in particular. They are based on numerous auditions, and trends that I see amongst all actors. So please do not take this stuff personally. Incidentally, if you do take it personally, this is probably the wrong business for you.

Lets first talk about acting in general. In a nutshell, you need to be crazy to pursue this as a career. You’re welcoming failure into your life. Lets face it, if you book 1 out of 10 auditions, you’re doing great. That means a 90% failure rate. What other industry celebrates that?

With that in mind, something drives you to keep trying. Maybe fame, or money, or the art. Doesn’t matter to me. What matters to me is that you have chosen to pursue this, but many of you sure aren’t showing it. If you’re booking like crazy, you probably don’t need to read on. But if you are at a point where you’re wondering why you’re either (a) not getting sent out, or (b) never booking, then read on. I’m going to address the three major categories we get sent on as actors: commercials, industrials, and TV/Film.

For commercials, preparing is generally the easiest. The copy is short, a lot of times the dialogue is less than 3 lines, and “look” has so much to do with your success in that area. Comedy is king, so having that inherent comedic timing will get you far. I’m not overly concerned with actors auditioning for commercials.

For industrials, things are different. You could have upwards of 2 pages of copy or more. Most of the time they want great memorization skills (in addition to great diction, presentation skills, warmth, professionalism, etc.). So if you see an audition notice that requires memorization skills or ear-prompter, don’t bother showing up with your script in hand (and don’t ask me for a copy of the script). Memorize it. Even if it’s 2 pages. Even if your internet broke last night. Even if your printer was out of ink. Even if you had a big meeting at work and had to rush to Houghton on your lunch break. Bottom line: How bad do you want it?

TV and Film is the big one. It’s not only what actors desire the most, but it’s also where they fall short the most. Within 5 seconds of the start of your read, I know your chances of a callback. And it’s not because I’ve learned some magical technique for analyzing actors. Instead, you have to realize that you can not fool a single viewer into believing your read unless you’re PREPARED.

Now, the word “prepared” has a more complex definition when it comes to TV/Film. I can take 5 minutes and be prepared for a Ga Lottery commercial. I can take an hour or two with a 2-page industrial and spend all that time memorizing and voila! I’m prepared. For TV and Film, though, that won’t cut it. First and foremost, get off script. Period. No excuses (remember: how bad do you want it?). Some casting directors may not mind if you’re on script. So what? Would you rather be handicapped by your script, or liberated from it so that you are free to make real, instinctual choices? Some casting people may prefer you hold your script. Great! Hold it, but still have it memorized.

Now, not everyone is perfect. Circumstances do arise to prevent you from having the time to memorize. Then you need to stop right now and check out my previous post about good and bad cold reads. Because if you walk into an audition that I’m taping, and you have your head buried in your script on the first line, your tape WILL NOT BE SEEN BY THE CLIENT. Not because I’m mean, but because it is impossible to create a connection with the reader (and therefore the audience) with your head buried in the script. As a side note, it may come as a shock that we don’t send every single read to the client. The reason is that if we feel you fell short, it not only hurts your chances of being requested by that casting director in the future, but it also hurts Houghton’s reputation.

Now that you’re memorized, the rest falls on your extensive training…wait…what’s that? You haven’t taken a class in years? You’ve never taken a class? Okay. No worries. You can’t afford classes, or they don’t fit into your schedule, or you took classes in college, so what’s the big deal? I mean, you audition 5 times a week, that’s real-world training! You don’t need a class, right! Hmmm…..interesting logic. If you trained for a marathon 10 years ago, could you wake up tomorrow and run 26 miles? Just because a basketball team may play 2 games a week, do they stop practicing? You need to realize that if you aren’t training regularly, your acting muscle has atrophied. Now think of the actors you’re up against at Houghton, AMT, People Store, and the other 45+ agencies in the Southeast competing for those roles. How can you ever expect to book consistently for TV and Film unless your acting muscle is in shape? Heck, it needs to be on steroids. So again, I ask you: HOW BAD DO YOU WANT IT?

Lastly, I do realize that the auditions at Houghton can be deceptively relaxed. That is, you feel like you can show up late, ask someone to print you a copy of the script, have 7 takes before getting it right, etc. But think about it for a second. It’s YOUR AGENT. If you show up late and unprepared for them, that puts a bad taste in the mouth of the very person you need to be impressing the most! The audition represents ONE JOB, but the impression you leave with me, Chase, Vince, Verda, Deb, Mystie, Sally, and Gail will affect EVERY FUTURE AUDITION. So being unprepared at Houghton sends a clear message that you really don’t want it bad enough…





Presented by Women in Film and Television (WIFT)

 NSW, Australia


presented by Women in Film 
and Television (WIFT) NSW, Australia


Screening 1 & 2 October 2008 in SydneyAustralia
Travelling to over 20 locations in 
Australia & overseas

Earlybird entries end: 16th of June 2008 
Regular entry closing date: 16th of July 2008
Late entry closing date: 30th July 2008

Discounted ENTRY FEE for ALL WIFT MEMBERS around the World! 

Download Guidelines and Entry Form from

Short films up to 55 minutes, any genre:


with key creative input by women. Woman DIRECTOR OR women in any TWO of these roles: 


Exciting prizes to the value of over $16,000 are being offered by our sponsors for category winners.

ENQUIRIES: Sil-Nyin Cameron, Festival Director
email: or ph/ text 0402 246 601


                  DEADLINES    REGULAR    STUDENT    WIFT (all Chapters)

Early bird    16  June 08           $30                $20           $15

Regular       16 July  08            $40                $30          $25

Late             30 July 08             $45               $35           $30

Extended     6 Aug 08              $60                $50           $45



The 48 Hour Film Project 




REMINDER – Make a Film Weekend: June 27-29, 2008

Entry is first come, first served, so check out the website and enter ASAP!

Top 10 Reasons why you should enter the Atlanta 48 Hour Film Project:

1) This is the Big One … Filmmakers in more than 70 cities around the world will participate.
2) Every year we take a select number of films to important film-industry festivals.
3) Films stream online in high resolution at
4) Work with SAG actors … 48HFP has a special agreement with the Screen Actors Guild.
5) Our website provides all of the releases you’ll need for your film in perpetuity.
6) Our network provides chances to meet other filmmakers from around the world.
7) If your film wins the Best of Atlanta 48HFP, you get passes to Filmapalooza … our international festival of screenings, parties, and awards all rolled into one great weekend!
8) Because of our global presence, your film could play in other film festivals, in other countries, or be sold.
9) Your film team could compete in second round events where you can win cash or a Panasonic camera.
10)  If you win, you can say you won the world’s LARGEST INTERNATIONAL FILM COMPETITION!

Screenings will take place July 1st – 3rd, 2008 at the Midtown Landmark Art Cinema

For more information email Anjanette Levert, the producer, at