culture on a whole new level. Launch. Good People. Great fun.
6.30.2011
Launch
Come experience a festival that has its ear to the ground and discover
culture on a whole new level. Launch. Good People. Great fun.
culture on a whole new level. Launch. Good People. Great fun.
6.28.2011
Amber & Pam | kidaround
The new issue of kidaround features Cast Images model agent Amber Collins,
fave jewelry designer Pam Tuohy of 2ETN and fave client Caren Templet.
Momspirations. We're inspired.
fave jewelry designer Pam Tuohy of 2ETN and fave client Caren Templet.
Momspirations. We're inspired.
6.27.2011
6.24.2011
Be The Voice | Habitat for Humanity Fundraiser
"Be The Voice!": Unique fundraising event for the El Dorado Habitat for Humanity. Auditions videos and "Thumbs ups" are due by July 25th. Top 10 finalists with the most thumbs ups are then chosen and the SMS/text voting will begin, running through August 20th - $5 donation per vote.
If you love singing, rally your friends and family to help out a great cause.
Visit www.facebook.com/singforhabitat for more information.
If you love singing, rally your friends and family to help out a great cause.
Visit www.facebook.com/singforhabitat for more information.
Eric & Ruby | Proposal Short Film
Congratulations to Cast Images' Eric Wheeler and Ruby Sketchley for "Proposal," screening this Saturday (6.25.11) at the Tribeca Cinemas in NYC.
Special recognition goes out to Eric for his Nomination as Best Actor (Male Lead) at VisionFest 2011. Eric is the only actor to receive a nomination in his category that comes from a short film.
We're thrilled for this great production, courtesy of the talented folks at Watermarks Films, Silverado Studios, and Flynn Pictures.
Special recognition goes out to Eric for his Nomination as Best Actor (Male Lead) at VisionFest 2011. Eric is the only actor to receive a nomination in his category that comes from a short film.
We're thrilled for this great production, courtesy of the talented folks at Watermarks Films, Silverado Studios, and Flynn Pictures.
6.23.2011
Matt Thompson | Bloodline Premiere
Exciting news! Cast Images' Matt Thompson, premieres his independent feature film "Bloodline" tomorrow night (6.24.11) at 7PM at Three Stages in Folsom. In support of the local entertainment industry, this thriller was filmed entirely in Sacramento and the outlying areas, including the beautiful landscapes of El Dorado County.
Tickets are only $10 for this "premiere style" private screening, sponsored by local favorites Silverado Studios, Studio 24, Barco Media and Three Stages.
Check out the trailer.
Taylor Miroglio & Libby Lopez Cover Sacramento Magazine
Ready for summer! Cast models Taylor Miroglio and Libby Lopez
cover the July 2011 issue of Sacramento Magazine.
Photo by Beth Baugher.
cover the July 2011 issue of Sacramento Magazine.
Photo by Beth Baugher.
Taylor Mirolglio & Jeremy Hoenicke | Sacramento Magazine
Tired of the same old routine? Check out the "50 Fun Things To Do This Summer" feature in the July 2011 issue of Sacramento Magazine with Cast models Taylor Miroglio and Jeremy Hoenicke.
6.22.2011
Cast Kids | The Children's Place
Cast Images's kids Bryan, Emma, Olivia,
Bryor, and Lauren will be showing off summer trends
for The Children's Place on Good Day Sacramento tomorrow
morning (6.23.11). Set those DVRS on CW31 for the 9AM hour!
Bryor, and Lauren will be showing off summer trends
for The Children's Place on Good Day Sacramento tomorrow
morning (6.23.11). Set those DVRS on CW31 for the 9AM hour!
Abigail | The Children's Place
Cast Images cutie Abigail rocks denim for The Children's Place.
Simply adorable.
Simply adorable.
6.21.2011
6.20.2011
Kathleen Rees | CHOMP
Wellness matters! No one know this better than our Kathleen Rees,
now featured for the Peninsula Wellness Center and CHOMP web campaign.
now featured for the Peninsula Wellness Center and CHOMP web campaign.
6.17.2011
Ellen Hancock | Silver Legacy
Cast Images model Ellen Hancock. Director's Cut, Silver Legacy Resort Casino.
Director Zach Settewongse, AD Michael Whitton.
Watch for the commercial on TV soon.
Director Zach Settewongse, AD Michael Whitton.
Watch for the commercial on TV soon.
6.16.2011
6.15.2011
6.13.2011
Lyndsie, Phebe, Sylvia & Asanté | Sactown Magazine
Lovely feature in Sactown Magazine featuring Cast Images models
Lyndsie Moore, Phebe Stanley, Sylvia Chang & Asanté Garrott.
For more photos Caren Templet's show, please visit our facebook album.
Lyndsie Moore, Phebe Stanley, Sylvia Chang & Asanté Garrott.
For more photos Caren Templet's show, please visit our facebook album.
6.10.2011
Michelle & Beck | Our Wedding
The Art of Gorgeous.
Models Michelle Roberts & Beck Trumbo | Cast Images.
Photos Beth Baugher | True Love. Styling Sarah Kreutz.
Makeup Sherri Morris | Brushworx. Jewelry 2ETN.
Our Wedding Fall|Winter 2011.
Models Michelle Roberts & Beck Trumbo | Cast Images.
Photos Beth Baugher | True Love. Styling Sarah Kreutz.
Makeup Sherri Morris | Brushworx. Jewelry 2ETN.
Our Wedding Fall|Winter 2011.
6.09.2011
6.08.2011
Fun New Talking Headshots
A few fun faves from this month's batch of Cast Images Talking Headshots.
Shirley Smallwood
Liam Worrell-Olsen
6.07.2011
6.06.2011
Entertainment Fair Pics
Had a great time at the 2nd Annual Entertainment Fair this weekend.
The rain didn't stop us!
To see the full photo album, visit our facebook page.
The rain didn't stop us!
To see the full photo album, visit our facebook page.
6.03.2011
6.02.2011
Cast models | Solage
Brittany Ward, Greg Sestaro, David Enrico and Ellen Hancock for Solage.
Beautiful models, beautiful resort in Calistoga. Time to plan a getaway.
Beautiful models, beautiful resort in Calistoga. Time to plan a getaway.
To improv or not to improv...
Great advice to actors from Backstage...to improvise or not to improvise.
How to make yourself stand out at commercial castings.
How to make yourself stand out at commercial castings.
To Improvise or not to Improvise
By Paul Haber
JUNE 2, 2011
When an actor doesn't book a commercial, his or her agent may proffer a comforting bit of pablum that actors have heard since Vitameatavegamin entered the pop-culture lexicon: "It's not you; they just went another way."
The phrase is probably meant to comfort a fragile ego, and sometimes it may be true. Some casting directors, though, maintain that the real reason you didn't book is because you performed exactly what was on the page but didn't go enough beyond it. That's when improv plus commercial copy could equal a booking—or maybe not.
"Although we can't ask anyone to improvise"—because of Screen Actors Guild rules—"people will expect you to be able to," says David Cady, a session director with Donna DeSeta's office in New York. "At the very least, people will appreciate that you can make a funny script funnier." Ultimately, you have to find a way to make your audition stand out from everyone else's, observes Cady, who has personally cast more than 1,500 commercials in the last decade. Improv, he says, may be the way to do it.
The phrase is probably meant to comfort a fragile ego, and sometimes it may be true. Some casting directors, though, maintain that the real reason you didn't book is because you performed exactly what was on the page but didn't go enough beyond it. That's when improv plus commercial copy could equal a booking—or maybe not.
"Although we can't ask anyone to improvise"—because of Screen Actors Guild rules—"people will expect you to be able to," says David Cady, a session director with Donna DeSeta's office in New York. "At the very least, people will appreciate that you can make a funny script funnier." Ultimately, you have to find a way to make your audition stand out from everyone else's, observes Cady, who has personally cast more than 1,500 commercials in the last decade. Improv, he says, may be the way to do it.
The numbers make clear just how wise this advice is. According to Cady, who also teaches commercial classes in New York, they may see 70 to 80 actors for a single role, and often many more. Given those figures, if you don't bring something different and creative to the audition, you're putting yourself at a statistical disadvantage.
"One of the values of improv is to train you as an actor to come into an audition with 10 ideas instead of two, even in a nonverbal scenario," Cady says. "Having too many ideas is always better than having only one."
This is not to say you should ignore the script and direction in an effort to stand out as the funny guy or girl. There's a vital difference between what you might do onstage Saturday night at Upright Citizens Brigade Theatre, where you create the whole world, and what you do Monday morning at your commercial audition.
"Show them you respect the world they created, the world they wrote," says Killian McHugh, a session director with Hollywood's Alyson Horn Casting. Even when you're improvising, your acting choices must be based on the choices the ad agency has created for you. "The director's goal in calling you back is to see that you can take direction," he says. "But if you're not making any choices, then what's the point? Why would he direct you?"
Moreover, you can't add lots of time to your audition—a 30-second spot can't morph into a two-minute comedy routine. How much is too much when it comes to improv? "It's a skill guided by your internal barometer, then honing that skill in class," says McHugh, who teaches improv for commercials.
"The script is a guide," adds Cady. "You can't make up the script; otherwise, the people watching you will wonder what kind of a loose cannon you are."
Still, one thing that Cady reminds his actors is just how little the clients actually see of them: "My client sees 20- to 30-second takes, then at the callback they'll spend five or 10 minutes with you. That's all. So you really want to make those moments count."
One casting director, who preferred to offer his advice anonymously, says, "If I give someone a script and say, 'Feel free to make it your own,' what I'm implicitly telling that actor to do is embellish it or improvise. I can't say that because of SAG rules, but by making it the actor's choice—'Feel free to do this if you so choose'—I'm telling the actor, 'It might behoove you to do that.' If they choose to do the script exactly as written, that's their choice. And if they choose to embellish, who am I to stop them?"
One of McHugh's tips to actors: As soon as you walk into the audition room, ask if you're "married to the copy." If they say they want it verbatim, that's what you should give them. But if they say, "Feel free to make it your own" (or words to that effect), that's your cue to really do that.
"I tell my students, 'It's your job to show them how creative you are in an audition,' " says Cady. "If you're an incredible actor and improviser who can come up with funny, off-the-cuff things to say, I won't necessarily know that if you don't show me you can do that."
In essence, all actors are telling the same story when they come in for an audition. "But," says Cady, "it's how you tell the story. If you add some personal embellishments, in a way that no one else will tell it, that's what will make you stand out."
"One of the values of improv is to train you as an actor to come into an audition with 10 ideas instead of two, even in a nonverbal scenario," Cady says. "Having too many ideas is always better than having only one."
This is not to say you should ignore the script and direction in an effort to stand out as the funny guy or girl. There's a vital difference between what you might do onstage Saturday night at Upright Citizens Brigade Theatre, where you create the whole world, and what you do Monday morning at your commercial audition.
"Show them you respect the world they created, the world they wrote," says Killian McHugh, a session director with Hollywood's Alyson Horn Casting. Even when you're improvising, your acting choices must be based on the choices the ad agency has created for you. "The director's goal in calling you back is to see that you can take direction," he says. "But if you're not making any choices, then what's the point? Why would he direct you?"
Moreover, you can't add lots of time to your audition—a 30-second spot can't morph into a two-minute comedy routine. How much is too much when it comes to improv? "It's a skill guided by your internal barometer, then honing that skill in class," says McHugh, who teaches improv for commercials.
"The script is a guide," adds Cady. "You can't make up the script; otherwise, the people watching you will wonder what kind of a loose cannon you are."
Still, one thing that Cady reminds his actors is just how little the clients actually see of them: "My client sees 20- to 30-second takes, then at the callback they'll spend five or 10 minutes with you. That's all. So you really want to make those moments count."
One casting director, who preferred to offer his advice anonymously, says, "If I give someone a script and say, 'Feel free to make it your own,' what I'm implicitly telling that actor to do is embellish it or improvise. I can't say that because of SAG rules, but by making it the actor's choice—'Feel free to do this if you so choose'—I'm telling the actor, 'It might behoove you to do that.' If they choose to do the script exactly as written, that's their choice. And if they choose to embellish, who am I to stop them?"
One of McHugh's tips to actors: As soon as you walk into the audition room, ask if you're "married to the copy." If they say they want it verbatim, that's what you should give them. But if they say, "Feel free to make it your own" (or words to that effect), that's your cue to really do that.
"I tell my students, 'It's your job to show them how creative you are in an audition,' " says Cady. "If you're an incredible actor and improviser who can come up with funny, off-the-cuff things to say, I won't necessarily know that if you don't show me you can do that."
In essence, all actors are telling the same story when they come in for an audition. "But," says Cady, "it's how you tell the story. If you add some personal embellishments, in a way that no one else will tell it, that's what will make you stand out."