This is an update to my Getting Back on Set as COVID-19 Cases Surge post, so definitely read that one first! 

The Safe Actor Bubble

The great thing about being on location during a pandemic is having everyone in the cast isolated, away from family and friends, only interacting with people who have tested negative from the start (and continue to test negative every three days). It is a bubble from pandemic madness and feels safer than anywhere else right now.

Natalia Mann, Amanda Detmer, and Lorynn York on the set of “A California Christmas”

But the production team for the movie Natalia, my 11-year-old, just wrapped, learned there is one loophole: the nurses or medics coming to test cast and crew were not isolated with us. They were locals and as healthcare workers are extremely careful, but also more exposed.

And It’s … Not a Wrap

It was 10 pm on a Saturday evening and we were about to shoot the big party scene—Natalia’s final scene. The background actors had all gone through two rounds of testing and had just arrived for their big moment. The chandeliers were lit, the band was playing, the fake bar was buzzing, the food on the buffet was perfectly styled. Then the producer, Ali Afshar, sucked the energy from the room with the announcement we all dreaded. He had just gotten word that someone who had been on set on Wednesday, and only Wednesday, had tested positive. This person was asymptomatic and feeling fine so risk of transmission was low but production would halt immediately. We would all have to do drive-up testing the following day and await results before recommencing.

Natalia with producer and actor Ali Afshar

The shoot is not a go until everyone tests negative once again. “It’s just a movie; it’s your health that matters,” Ali said. He means it. This producer is one of the most sincere people I have met in the business. Watch his movie, American Wrestler, about his escape from Iran, adjustment into a hostile high school setting in California, and triumph on the wrestling mat, and you’ll see where Ali’s integrity, passion, and grit come from.

I told him that we weren’t on set on Wednesday. Natalia had the day off. But everyone had to come to set on Wednesday to be tested so we were in contact with this person, he said. Aha. Clearly it was someone on the medical team (they are not allowed to reveal who but this process of deduction narrowed it down quite easily).

Medic COVID Protocol

The medic or nurse who swabs each cast and crew member’s nasal cavity wears a mask, covered with a face shield, and of course gloves. The victim (it doesn’t really hurt but can be a little uncomfortable) lowers the nose portion of their mask. The swab is long so some distance is maintained and no one speaks for this 10-second interaction. The Wednesday testing took place outside in a large airy barn with wide doors open. We were in and out in a minute. So I was not concerned about transmission.

Production hoped that we would have our Sunday morning tests back by late Monday or Tuesday morning so that shooting could begin again Tuesday evening. Natalia, who had cried that Saturday morning about having to leave the next day, cried tears of joy that we could stay longer.

Waiting for Results and Exploring Sonoma County

Natalia biking in Sonoma

Staying longer gave us time to bike around the vineyards and explore a woodsy hike in Sonoma. Results did not come back in time to start shooting Tuesday. Our flight had to be shifted back again. I’m sure it was frustrating and costly but weathering these delays is going to be a production norm for the time-being (unless rapid testing becomes more accurate; the Screen Actor’s Guild is not approving its use at this time).

Natalia in Sonoma State Park near Bodega Bay

We took advantage of another day free to explore and hit the Bodega Bay trails. Talia, a resistant hiker, called it the most beautiful hike in the world. She might be right. Then we returned to the deck at The Birds Cafe, named after the spot where Hitchcock’s classic thriller was filmed, where we’d eaten after a gallop on the beach nearby (thank you, Horse N Around!). Not only is the food scrumptious, the safety protocol is more extreme and pleasantly executed than I’ve seen since Coronavirus came visiting—and started making a flock of killer birds seem preferable!

View of the Pacific, Bodega Bay trailhead

Horsin’ Around offers fun trail rides through the dunes and onto the beach

Action!

The Birds Cafe, where Hitchcock’s “The Birds” thriller was shot, in Bodega Bay

Results had not arrived by Wednesday morning. Another call sheet arrived, with call-time pushed back to late afternoon. Time ticked by… no email confirming negative results. Another call sheet. An evening call-time: 7:30 pm. 7 pm came and went. No email. Another call sheet arrived. 8 pm call-time. Finally, at 7:30 pm, the email from the lab hit my inbox (and production’s). Negative! Two minutes later, a text came in: you are approved to work, new call-time 8:30 pm!

We headed back to the party set where it felt like a party, because everyone was so relieved and thrilled to be back. That’s the beauty of the movie business. The grueling part is booking the job. The jobs are the fun part. Cast and crew can’t wait to get there and make magic happen. So they will jump through hoops involving regular nasal swabs, cumbersome safety protocol, and multiple schedule changes without a complaint. I can’t think of other employees in another industry who would. It’s why the film industry will find a way through. Just as we did that evening, when the music played again, the cast kicked up their heels, the director yelled cut, and everyone gave Natalia a heartfelt send-off.

It’s a Wrap!

The remaining week of shooting went off without a hitch. Keep “A California Christmas” on your radar this holiday season, and remember, as you are watching what looks like pre-pandemic normalcy, everything that was going on behind the scenes to make it happen. Congrats to the producers on getting one of the first films of the pandemic successfully in the can and huge congrats to writer/producer/star Lorynn York (aka Lauren Swickard) for her writer/producer credit at age 27!

Enter my Talent Search here

After one week on a film set in California with my 11-year-old, my short answer is yes. In fact, the past week is the safest I’ve felt since May, when I first began interacting—cautiously—with anyone beyond immediate family. That is because here, on location north of San Francisco, I know:

-Every cast and crew member is being tested for COVID-19 every three days. There is no shopping errand or backyard gathering or kid playdate that offers that level of reassurance.

-Everyone’s temperature is checked as we pull into base camp (literally before we park our car—and we each have our own car—no group vans). Temperatures are checked again as we leave base camp at the end of the day.

Safety signage in our trailer

(Read about Hollywood’s stringent safety reopening guidelines in Deadline)

-Everyone is wearing a mask at all times (except actors after makeup application), even though we are primarily outside and way more than six feet from each other. This rule is followed religiously and respectfully because cast and crew members are experts at functioning as one, like a finely greased machine. Movies/TV shows would not get made otherwise. Politics have no place here. Everyone wants to work and keep working. In this time, it is a privilege to do so. It is a privilege to stand on set in a mask.

-A COVID-19 compliance officer is overseeing safety protocol. If we could have one of those at gatherings with extended family, I’d attend. But we don’t, so give me a movie set any day of a pandemic. He enforces social distancing whenever a clump of people starts to form (which is rarely).

-The hairdresser and makeup artist—those who have to get closest to the talent—are in masks, shields, and plastic body suits. Each actor has her own set of cosmetics and makeup brushes. And remember, these people tested negative three days ago and today and will be tested again a few days from now.

-Anyone who doesn’t have to get close to each other (which means pretty much everyone except the makeup artist, hairdresser, and actors) does not. Again, people are working and no one wants to mess with that. Chairs (which are sanitized, along with tables) at lunch are spaced six feet apart. It doesn’t feel distant emotionally. We are eating our individually packaged lunches and boy do I miss the buffets of yesteryear, but life is good! The cameras are rolling again! Creativity is in the air  (the fresh outdoor air) and, in its shadow, that other C word seems smaller.

2 Surprises of Shooting During COVID

1. It’s still FUN! If you have kids in the biz, that’s the biggest worry. If it’s not fun, you don’t want to be dragging your child away from their captivating virtual schooling (ha) to a set that feels sterile and glum. Even with the significantly pared down crafty offerings and air elbow bump greetings, Natalia is giddy each day she works—the farm animals on set make it extra fun—and bummed when she has a day off (the hotel pool is closed). She is making memories she will cherish and befriending people who are teaching her about collaboration, patience, passion, and storytelling. “I love having a new mom (uh, should I be insulted?), sister, and home, and creating this whole other life,” she gushed after the second day on set. Imagination! It’s hard to fire up in these days of Netflix and Youtube bingeing, so major points to the child actor life.

Cute castmates

2. It doesn’t feel reckless. On the contrary, productions up and running, in a safe atmosphere, are more than just an economic positive to society; they’re a safeguard ensuring fast contact tracing. There is this whole pocket of people who are being tested so frequently that should a breakout happen in their family or social group, it likely will be caught and contained quickly rather than festering and spreading unchecked through who knows how many asymptomatic or symptomatic transmitters.

COVID-19 Concerns for Productions – The Long Answer

Northern Californian ranch country

-We are on location in Northern California, and most people traveled in (by car) from L.A., so they are going home to a hotel room each night, not to their families or roommates. This probably mitigates potential viral spread (unless hotel protocol is sloppy). So it may be a bit of a different story for productions getting up and running in L.A., where cast and crew members have a life off set. It will be up to them to be extremely vigilant at home if the set is to feel as safe as this one does. But again, the frequent testing is a reassuring safeguard and is likely to make people feel safer than they do if not working and not receiving those constant “negative” results.

-Everyone on this production—some 60 people—all tested negative from day 1. With many coming from L.A., where the positive result rate has hit 9% of the population, that was a minor miracle. And a huge coup, considering how inconvenient and costly delays would be. If a positive test comes back mid-production, meaning people on set may have been exposed, that would cause even more of an upheaval—and perhaps scare some people out of returning to work so soon.

-We have been shooting in the summertime, not cold and flu season. Once fevers and symptoms that may look like COVID are swirling around, delays are likely to be more frequent. For each high temp or sore throat, Covid will need to be ruled out as the cause. Unless more rapid testing is readily available, these disruptions may be lengthy and costly. (Test results here are taking two to three days.)

-The majority of the scenes on this shoot have been outdoors, which we know is safer. We also have been eating outside. The soundstage environment will be a different animal but still infinitely more manageable than antiquated schools expected to be filled with thousands of students this fall. I know my kid is safer on set and with a studio teacher than in a crammed classroom and congregating with reckless peers. Everyone has to weigh the pros and cons for themselves, especially anyone who is older and/or has a pre-existing condition.

Post your comments, send your stories and opinions of working—or not—during COVID, and hang in there!

Enter the Modeling Mentor Model Search or Talent Search

Agent – Model or Agent – Mom Relations Rule Book

No one gives you a guide book on how to act with your agent, so faux-pas are common—and can kill your career if you aren’t careful! Here are a few tips on What Not to Do when communicating with your agent.

Emailing Your Agent

1. DO NOT write unnecessarily lengthy e-mails. Your agent—if he or she is any good—is very busy. Keep e-mails as brief as possible. A few sentences at the most. No chitchat. Your agent is not your buddy. If you want to do any longwinded venting or bragging, text a friend.

Calling Your Agent

2. DO NOT call your agent all the time. Again, they are crazy busy! Most communication can happen via email (brief ones!). If you have an important issue that you must discuss via phone, ok, but this shouldn’t happen often. (I talk to my kids’ talent manager once a month at most and their modeling agent hardly ever—even bookings are conveyed and confirmed via email.) If your agent happens to prefer speaking by phone, that’s fine, but let them take the lead as far as the frequency and duration of those calls.

Booking Out

3. DO NOT forget to book out. If your agency is submitting you on jobs because they think you are available, it’s a hassle for everyone and poor reflection on them when it turns out you are not. After you book a vacation or schedule an appointment you cannot miss, email your agency with your book-out dates. (But if you book out all the time, that also will irk your agent!)

Lauren Hutton’s famous gap-toothed smile

Career Guidance

4. DO NOT skip consulting with your agent when making important career decisions. Without monopolizing their time (I know, it’s a fine balance), keep your agent in the loop and respect their advice. Certainly there is a place for standing your ground (Lauren Hutton kept telling Eileen Ford she would fix the gap in her front teeth but never did; it became her signature feature), but don’t recklessly undermine your relationship with your agent.

Brooke Shields (age 14 in this photo) was managed by her infamously over-earnest mom, Teri Shields

Model Parents

5. DO NOT be over-eager. This one is especially directed at parents. Be supportive; do not be over-earnest or pushy. Unfortunately we stagemoms are up against Gypsy stereotypes. One whiff of Mama Rose behavior and agents are likely to drop Junior rather than deal with you. So many parents sabotage their kid’s career, often unknowingly, with their own misconduct. You don’t want to be that mom. The fact is that you have to lean toward passive to overcompensate for the pre-conceived notions people have about stagemoms. In my experience, few live up to those notions, but the ones with successful kids are definitely on the ball, informed, and at-the-ready when their kids have to be at a casting or booking. (Teri Shields, Brooke’s mom, was generally all of these things, despite a severe drinking problem, but she also was pushy enough that she insisted on managing her kid’s career herself. Most agents wouldn’t tolerate such an opinionated and emotionally erratic mom. Read more about that “model-mom” relationship in Brooke’s book: There Was a Little Girl: The Real Story of my Mother and Me. I found it fascinating and well-written by the Princeton grad and ultra successful model-turned-actress.)

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Child Model and Actor of the Month!

Redhead Actor on the Rise!

Congrats, Graeme!

Graeme Buffenbarger, shot by Deborah Celecia Wagoner

Age: 3   Height: 40″    Size: 4 

Based in Atlanta

Represented by East Coast Talent in the Southeast

Seeking Representation in NY

Can’t you picture this face in commercials and movies?! He’s already busy working in Atlanta and you will be able to see him this summer in a new TV series called “Mr Mercedes,” written by Stephen King and directed by Jack Bender (“Lost”). He has an IMDb page at age 3—looks like the beginning of a very long career!

Graeme Buffenbarger, shot by Deborah Celecia Wagoner

Remember, your submissions are still eligible for next month!

Don’t forget to “like” the page of your favorite Model of the Month

Getting Your Child Star Training, Coaching and Representation

Here’s a fun guide I contributed to Westport magazine. It’s great for residents of Fairfield County but also will steer you to my favorite coaches in NYC, so check it out no matter where you live…

LINKS TO ABOVE PERFORMING ARTS ORGANIZATIONS, STUDIOS, COACHES, MANAGERS

Westport

Ballet Etudes

Cynthia Gibb’s  Triple Threat Academy for Performing Artists

Cynthia Gibb – Voice Lessons

DWKing Talent Management

Jill Jaysen‘s Center Stage Theatre Company

Staples Players

Westport Dance Center

NYC

A Class Act NY

Badiene Magaziner (voice)

Kurt Froman (ballet)

New York Model Management

Thommie Retter (tap) & Retter Entertainment

Trapper Felides (acting/singing coach)

My career in photography started with my inability as an actor to find a good headshot photographer who didn’t charge an arm and a leg for a session. The reason the cost can be so high is that a legitimate headshot is the perceived reflection of how serious you are about your career. You can always have your friend with a DSLR take your photo, but the casting director or agent will know you tried to cut corners. It’s a superficial aspect of the industry that I am not too fond of, especially when the focus should be on one’s acting ability. But alas, a headshot is like a passport, and it’s one of the first things that will get you in the door.

Jamie Mann with Shirley Grant Management, shot by Pasha Kalachev

Because of the necessity of all actors to have decent headshots and the market value of these valuable career tools, many people have unjustly coined themselves photographers to capitalize on the demand. This has led to an over-saturation of the market and has left actors confused as to with whom to shoot. Headshots are an investment, but I personally don’t think you should cost upwards of $1000+ as the first few results of a google search would indicate. Word of mouth is hard to come by. So what to do?

5 Tips for Choosing a Headshot Photographer 

1. EXPOSE YOURSELF TO THE MARKET

If you are running around on auditions, many casting offices will have boards where photographers post their adverts. Take a look, collect the ones you like, see if you notice any similarities among your favorite photographers. Otherwise, take a look here:

Backstage.com’s Headshot Photographer Guide

2. HAVE REALISTIC EXPECTATIONS OF PRICE

On average, a good headshot session will cost around $400–$600, although the market value is slightly lower in LA. Anything above $600 and you are either paying for artistic branding (i.e. a stylized shot from a well known photographer) or a bunch of features (i.e. a headshot AND     lifestyle shoot). Lower than $350 and you are likely dealing with a novice photographer and the results will be a hit or miss.

Nelly, by Pasha Kalachev

3. VET THE PHOTOGRAPHER’S WORK

Consistency is one of the biggest indicators of a good photographer. When looking through their portfolio, do all of the headshots have a similar style? Do they all look like they were shot by the same photographer? Is the cropping similar? Is the white-balance the same across the portfolio (i.e. are some images warm when others are a bit cooler). Consistency will reveal what type of images YOU will be getting and you can trust that no matter how the shoot goes, you will be in good hands. Inconsistency is indicative of a photographer that is still experimenting, hasn’t settled into his/her own style, which will likely result in you getting a hodgepodge of images that may or may not be useable in a professional environment.

4. KNOW WHAT YOU ARE GETTING 

a. Getting a properly lit headshot is only half the battle; you still need to retouch it! Retouching is a crucial part of the process. Regardless of whether or not you have flawless skin, the finishing touches on a headshot are what really make it special. Make sure that the photographer offers some sort of retouching service that is inclusive of the session price. If the photographer doesn’t offer retouch, he is just trying to nickel and dime you.

b. Will you be receiving the bulk “negatives”? (i.e. are you getting all the shots in full-resolution from the shoot). You paid for the shoot. You should be due all of the images, even in RAW format if you so desire.

c. Any additional features? I personally back up all of my client’s images for an entire year. Make sure your photographer has your back.

Sable Boykin, by Pasha Kalachev

5. GO WITH YOUR GUT     

Browse the photographer’s site. Check out the descriptions of the packages. How does he/she present their services? Do you get a good vibe from them? Reach out. Ask questions. How do they respond? Is it warm? Or is it “just business.” Remember, a headshot is a BIG INVESTMENT and a   key factor to how successful a shoot will be is how comfortable YOU FEEL on set. A typical session with me is mostly just casual conversation and joking around and then capturing all those naturally human in-between moments on camera. I’ve been shooting for long enough that a session feels like something second-nature. A headshot is a sincere enterprise and not everyone is capable of curating a safe environment. If you don’t click with the photographer from the get-go, I would seriously reconsider shooting with them.

Alex Boniello, by Pasha Kalachev

Finding YOUR headshot photographer is a tricky endeavor. It takes a bit of time and perseverance. Word of mouth can be misleading as anybody who spent over a thousand dollars will surely tell you that their photographer is the best in the world, regardless of whether or not it is the case. If you do find someone who you really want to shoot with but can’t afford them, start a conversation and see if something can be worked out. Perhaps you can barter for services? Anything is possible. It’s a bit of an adventure, but once you find the right person, you will get the images that can open up some serious doors for your career!

If you have any additional questions, feel free to shoot me a line at pasha@pashakalachev.com. I’m always open to answer questions or give tips! I also blog at www.losthopefully.com

Keep the hustle strong everyone! ️

Yours truly,

Pasha

Editor’s Note: If you are an actor or stagemom looking to harness as much creative energy as possible from every moment of every day, have Pasha shoot your family portraits at the same time as he shoots your/your kids’ headshots. His portrait photography is stunning!

Mann Family Holiday Portrait, by Pasha Kalachev

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These days there are a gazillion sites offering casting and audition info and tantalizing promises to those chasing stardom. But how do you know if a site is legit and whether a casting will result in a booking…or maybe a terrifying encounter with a weirdo in a deserted hotel room?

Your best bet is to go with the tried-and-true websites that have been around for years—or decades—and have a solid reputation. Backstage.com is the gold standard, offering verified casting calls, as well as a talent database, forums, news, and great articles. You might be interested in 7 Signs of a Casting Scam, for one. I have a membership to Backstage—it’s pretty much a must if you want to research upcoming auditions and be on top of the biz (non-members can view basic info but not the details of auditions). This definitely applies if you are working as a freelancer, but even if you have a manager/agent, you may catch a casting that slipped through the cracks in their busy schedules. Several of my son’s recent Billy Elliot runs are the result of me setting up a Billy Elliot alert on Backstage. The people over at Backstage lay out the difference between their site and others this way: “Backstage.com is the only casting website that updates and verifies each and every casting notice before it’s posted, offering a level of confidence and security that no other website can match.” Backstage caters to actors, models, singers, dancers, and comedians.

Casting Networks is another credible site that established talent and agencies depend upon. It is easy to set up an account and post your photo, resume, stats, special skills, etc. If you are represented, an account is free; if you do not have an agency representing you, the cost is $25 annually.

Actors Access also provides essential services to both talent and casting directors. Setting up an account is free.

Combing through the castings and creating and updating your profile on these three sites will keep you plenty busy, so I’ll stop there for now.

Have a casting site or resource you love? Let us know!

Enter the Modeling Mentor Model Search and be seen by top agents. It’s free and easy!

Now Casting KIDS & Teens: Is your child an actor, singer, dancer or model? Join Backstage, the most trusted name in casting, to learn how to break into films, TV shows, commercials, and Broadway.

“Dream Ballet” with Jamie Mann, by Zoe Bradford

“Dream Ballet” with Ben Kuefler and Jamie Mann, Photo by Zoe Bradford

Jamie Mann as Billy Elliot in “Angry Dance,” by Zoe Bradford

“Boxing,” by Zoe Bradford

If you’ve followed my posts on my son Jamie, you know he’s dreamed of playing Billy Elliot since he was a little kid. Getting cast as Billy in Maltz Jupiter Theatre‘s Florida regional premiere of BETM was the high point of his young career! That run was last December. The hardest part was leaving with no photos or video to treasure, as it was a wonderful show (Actors Equity Union has strict rules on photographing and videotaping actors). Now Jamie is starring as Billy in Company Theatre’s BETM in Massachusetts. Company Theatre has obliged with tons of fantastic images and video footage to share and save for posterity. It’s an experience Jamie will never forget—and the visual record will be added insurance that these memories last forever.

Here is the first video teaser, which will give you a sense of the brilliant work Company Theatre does:

I have so much to write about the Billy Elliot experience. Stay tuned for more to find out what it’s like to prepare, rehearse, and star in a big regional show (and what is involved for the parent or guardian who goes along).

Child Star Shirley Temple

This new book by entertainment lawyer Sally Gaglini is a must-read for any parent navigating—or considering navigating—the child performer workplace. The stage can be magical, but troll around backstage or off set and you are sure to find a number of cautionary tales. Gaglini has, both through her personal experience representing child stars and through research into some of the highest profile stories of stageparent failures, and she generously sprinkles them in to keep the pages turning as she educates parents on entertainment law.

Gaglini’s first job was at the law firm that represented New Kids on the Block, the boy band that launched the boy band craze. She learned the in’s and out’s of the laws protecting or—more often—failing to protect young entertainers back then and has been following and advocating for change ever since.

In a business where parents and kids can easily be blinded by visions of stardom, it is crucial to go into it with eyes wide open. So often we stage parents just follow the advice or commands of managers, agents, clients, stage managers, or directors and hope for the best. Gaglini’s book arms us with the knowledge we need to be savvy and smart about how (and whether or not) to get our kids into the biz, the right questions to ask when signing contracts, keeping our kids safe at work, thinking carefully about educational alternatives, and ensuring money is allocated fairly and trust accounts are set up and managed as required by law (and she lays out these laws state by state).

A sample of chapters in Child Star Survival Guide

While I’m in Florida with my son Jamie, as he rehearses for a regional equity production of Billy Elliot the Musical at the Jupiter Maltz Theatre, it has been great to have Sally’s book on hand. I’m not just acting on gut instincts as a parent to tell if his needs are being met and he’s happy and safe. I also don’t have to feel conflicted or confused about what will happen with his paychecks. I know how much needs to go into his trust and have a good sense of what is fair as far as covering expenses and fun money (for him, not me!). This is clearly knowledge and good sense that Shirley Temple’s mother did not have, nor Jackie Coogan’s (a child star later known for his role as Uncle Fester on the Munsters, and for whom the Coogan law, which requires a portion of a child performer’s money be put in a trust, was named). It’s worth buying Gaglini’s book for those stories alone!

Young Performers At Work: Child Star Survival Guide is available on Amazon. It’s a great holiday gift idea for any budding-star parents you know!

Check out DWKingTalent.com

Good luck!