Acting Industry...Dead?
Refering to proffesional paid work only.
Are you finding our industry 'dead' at the moment?
Are even your friends telling you that there doesn't seem to be any work 'out there'?
I don't have the answers but let me know what you think. I have my own ideas and we do always have quiet spells, but i would like to know what the consensus is on what may be a 'dead scene'.
On the contrary, my dear Watson, perhaps your finding it a golden age...
let me know.
Here are my thinkings taken from my blog on my profile:
Acting Industry … Dead???
I would like to explore with other actors what they may feel is happening with the acting industry at the moment. Though I have had a good start to the year, I have notice the infamous ‘quiet spell’ has struck again. Black actors are phoning their Asian actor friends and vice-a-versa, to see if it’s a categorical reason or to do with the industry on the whole. And when asked, white actors and our agents confirm that there is a drought. The main idea is for us to share our opinions.
When we do have these spells that are no different from the British weather, you can almost imagine a factory where the mill has just stopped and all the actors are saying “it’s just dead at the moment. It’s just dead.” But why? No one at this factory is on strike. Not that I know of.
I think to understand what might be going on, is to break down the type of work that’s out there and explore the usual peaks and troughs of work. Looking at what I like to call ‘general’ factors where we usually find it slows down and why and then more ‘specific’ factors that could explain what’s happening now. For example, Christmas. This would be a clear general factor as we know that this is a point the industry quietens down. This is a period that your agent doesn’t mind you going on holiday. There are too many bank holidays here for anyone to actually work. Agents, casting directors and other members of the profession go AWOL and all we have left are pantos that have been planned from months ago.
In theatre we have a large number of venues and a range of theatrical genres. From a West End musical to a kitchen sink drama by a small scale theatre company on tour in Bradford. So what’s the main difference and what may be affecting us here.
If you look at the West End scene, you have high ticket prices and foreigners that have come from across the world to see the London’s West End. Theatres here are usually full where the front row generates enough money to pay the leads generous weekly wage. They also have funding from private companies with large assets. On the opposite end we have small scale touring companies that rely on arts council funding. They also have to meet certain requirements set by bodies such as Equity. Paying an actors wage, for props, set, costume, stage management and so forth doesn’t leave the company into much of a profitable position. I think this is where we meet a factor or rather a general factor for our drought.
You could have at one stage employed up to eight actors for a touring performance without breaking budget. Now it proves a little more difficult. To meet previously discussed requirements, a theatre company that does not have such generous funding may only employ four or perhaps if lucky five actors. Though the minimum fee for an actor has gone up over last few years, it still doesn’t leave an actor with much after deduction of N.I. and agency fees. Not to mention the cheeky VAT they put for the ‘service’. So before I conclude in this section that it may be about wages, perhaps the real answer is more to do with another question. Why are so many plays so under funded?
I went to see two plays towards the end of last year that were similar in production values. However, one play had one actor for each character who would appear just once for their only scene. The second play had actors doubling up as other characters. The former seemed a waste but the gig was employing more actors and allowed the audience to follow the story putting a clear face to a character name. The latter had to cope with a smaller budget and the reason to why was perhaps to do with the venues. One was higher in profile but had the same number of bums on seats and reviews in the papers as its contemporary.
As we know, there are also the Olympics to come. And I think it is here we start to look at a more specific factor. Though as above, funding may depend on scale and venue, you can’t help but believe that funding will drop as we come closer to the games and that this specific factor starts to become more of a general one. There is only so much money the government will put into the arts and whether that goes into theatre or elsewhere can never be completely certain. You only have to switch on the news to see the cost of the games is going up. However, I don’t want to blame another’s interest and profession as an evil cause. Sportsmen and actors are similar in many ways. Both perform in front of others and both are dream chasers.
We also have the film industry. If we were being honest, not many of us would turned down a role in a Universal or Warner Bros. film, even if we thought it was shit. And even if some movies don’t get released we have still made connections, can obtain footage or indicate the authenticity through IMDb for future work.
So what are the opposite ends here? Of course you have your higher profile pictures such as Love Actually or Notting Hill, but you also have your low budget, micro budget and no budget independent films. And thought there are many festivals you can take your indie flick to, don’t forget that you will face costs at some point. E-mailing your friends won’t raise your movies profile to a distributor.
So the general factors if you asked me would be the obvious one. Sunlight. Features are usually made in the summer if being filmed in the UK. Unless it’s a Bond flick, then you’re in Pinewood studios whenever you want to be.
In winter you may only get five hours of sunlight a day however, in summer you can have up to fifteen. That’s three times as much. With the right scheduling this is far more cost effective.
A few years ago I was seen for four feature films round about at the same time in late spring. They were all independents. Last year, I was only seen for one. This was a large scale film with a heavyweight director and a major distributor. And so far this year it has also been just the one. But this time it wasn’t British, it was German. So where have the indie Brit flicks disappeared too?
I uncovered a fact a couple of years ago that in that year only 72 movies were made in the UK. I would love to know how many were made last year and the year before that. I don’t think the numbers would have dropped so much but I am a little concerned about this year.
In-between gigs I temp at a property company so you can imagine the talks in the office about the current climate with the credit crunch and the market and economy in general. Though this may not affect TV and Radio that generates funds from advertising, my theory is that it will affect our movie industry.
Here is the ‘specific’ factor. A British feature I was in was made from the producer and director mortgaging their homes to get access to funds for their low budget motion picture and I am aware many other independent flicks have the same source of money. Now we are at a time where house prices are falling so any inflation made in the last few years will prove difficult for a film maker to release equity from his or her home or to re-mortgage for that matter.
And like with the Olympics, I hope this does not become a general factor. Perhaps it’s a little far fetched for a theory and hopefully not on the money but I do think the current economic climate of Britain is the specific factor for this ‘dead’ period we are or maybe experiencing.
A rapper in America concluded that ‘Hip Hop just died this morning’ and the response from his industry was unanimous. Nearly every rapper responded with their comments and opinions. Songs, mixtapes and albums were made around this subject. The artists were motivated to raise their level and prove their peer wrong. Hip Hop found a way as has music in general. It has found a way of combating poor sales affected by illegal downloads. As we approach summer, hopefully ‘things will start to pick up’ for us and in the mean time, let me know what you think.
Am I completely wrong? Have I missed out an obvious point or ‘factor’? Or is the industry treating you really well right now and others that you know?
Please feel free to comment back. I look forward in hearing from you.
Are you finding our industry 'dead' at the moment?
Are even your friends telling you that there doesn't seem to be any work 'out there'?
I don't have the answers but let me know what you think. I have my own ideas and we do always have quiet spells, but i would like to know what the consensus is on what may be a 'dead scene'.
On the contrary, my dear Watson, perhaps your finding it a golden age...
let me know.
Here are my thinkings taken from my blog on my profile:
Acting Industry … Dead???
I would like to explore with other actors what they may feel is happening with the acting industry at the moment. Though I have had a good start to the year, I have notice the infamous ‘quiet spell’ has struck again. Black actors are phoning their Asian actor friends and vice-a-versa, to see if it’s a categorical reason or to do with the industry on the whole. And when asked, white actors and our agents confirm that there is a drought. The main idea is for us to share our opinions.
When we do have these spells that are no different from the British weather, you can almost imagine a factory where the mill has just stopped and all the actors are saying “it’s just dead at the moment. It’s just dead.” But why? No one at this factory is on strike. Not that I know of.
I think to understand what might be going on, is to break down the type of work that’s out there and explore the usual peaks and troughs of work. Looking at what I like to call ‘general’ factors where we usually find it slows down and why and then more ‘specific’ factors that could explain what’s happening now. For example, Christmas. This would be a clear general factor as we know that this is a point the industry quietens down. This is a period that your agent doesn’t mind you going on holiday. There are too many bank holidays here for anyone to actually work. Agents, casting directors and other members of the profession go AWOL and all we have left are pantos that have been planned from months ago.
In theatre we have a large number of venues and a range of theatrical genres. From a West End musical to a kitchen sink drama by a small scale theatre company on tour in Bradford. So what’s the main difference and what may be affecting us here.
If you look at the West End scene, you have high ticket prices and foreigners that have come from across the world to see the London’s West End. Theatres here are usually full where the front row generates enough money to pay the leads generous weekly wage. They also have funding from private companies with large assets. On the opposite end we have small scale touring companies that rely on arts council funding. They also have to meet certain requirements set by bodies such as Equity. Paying an actors wage, for props, set, costume, stage management and so forth doesn’t leave the company into much of a profitable position. I think this is where we meet a factor or rather a general factor for our drought.
You could have at one stage employed up to eight actors for a touring performance without breaking budget. Now it proves a little more difficult. To meet previously discussed requirements, a theatre company that does not have such generous funding may only employ four or perhaps if lucky five actors. Though the minimum fee for an actor has gone up over last few years, it still doesn’t leave an actor with much after deduction of N.I. and agency fees. Not to mention the cheeky VAT they put for the ‘service’. So before I conclude in this section that it may be about wages, perhaps the real answer is more to do with another question. Why are so many plays so under funded?
I went to see two plays towards the end of last year that were similar in production values. However, one play had one actor for each character who would appear just once for their only scene. The second play had actors doubling up as other characters. The former seemed a waste but the gig was employing more actors and allowed the audience to follow the story putting a clear face to a character name. The latter had to cope with a smaller budget and the reason to why was perhaps to do with the venues. One was higher in profile but had the same number of bums on seats and reviews in the papers as its contemporary.
As we know, there are also the Olympics to come. And I think it is here we start to look at a more specific factor. Though as above, funding may depend on scale and venue, you can’t help but believe that funding will drop as we come closer to the games and that this specific factor starts to become more of a general one. There is only so much money the government will put into the arts and whether that goes into theatre or elsewhere can never be completely certain. You only have to switch on the news to see the cost of the games is going up. However, I don’t want to blame another’s interest and profession as an evil cause. Sportsmen and actors are similar in many ways. Both perform in front of others and both are dream chasers.
We also have the film industry. If we were being honest, not many of us would turned down a role in a Universal or Warner Bros. film, even if we thought it was shit. And even if some movies don’t get released we have still made connections, can obtain footage or indicate the authenticity through IMDb for future work.
So what are the opposite ends here? Of course you have your higher profile pictures such as Love Actually or Notting Hill, but you also have your low budget, micro budget and no budget independent films. And thought there are many festivals you can take your indie flick to, don’t forget that you will face costs at some point. E-mailing your friends won’t raise your movies profile to a distributor.
So the general factors if you asked me would be the obvious one. Sunlight. Features are usually made in the summer if being filmed in the UK. Unless it’s a Bond flick, then you’re in Pinewood studios whenever you want to be.
In winter you may only get five hours of sunlight a day however, in summer you can have up to fifteen. That’s three times as much. With the right scheduling this is far more cost effective.
A few years ago I was seen for four feature films round about at the same time in late spring. They were all independents. Last year, I was only seen for one. This was a large scale film with a heavyweight director and a major distributor. And so far this year it has also been just the one. But this time it wasn’t British, it was German. So where have the indie Brit flicks disappeared too?
I uncovered a fact a couple of years ago that in that year only 72 movies were made in the UK. I would love to know how many were made last year and the year before that. I don’t think the numbers would have dropped so much but I am a little concerned about this year.
In-between gigs I temp at a property company so you can imagine the talks in the office about the current climate with the credit crunch and the market and economy in general. Though this may not affect TV and Radio that generates funds from advertising, my theory is that it will affect our movie industry.
Here is the ‘specific’ factor. A British feature I was in was made from the producer and director mortgaging their homes to get access to funds for their low budget motion picture and I am aware many other independent flicks have the same source of money. Now we are at a time where house prices are falling so any inflation made in the last few years will prove difficult for a film maker to release equity from his or her home or to re-mortgage for that matter.
And like with the Olympics, I hope this does not become a general factor. Perhaps it’s a little far fetched for a theory and hopefully not on the money but I do think the current economic climate of Britain is the specific factor for this ‘dead’ period we are or maybe experiencing.
A rapper in America concluded that ‘Hip Hop just died this morning’ and the response from his industry was unanimous. Nearly every rapper responded with their comments and opinions. Songs, mixtapes and albums were made around this subject. The artists were motivated to raise their level and prove their peer wrong. Hip Hop found a way as has music in general. It has found a way of combating poor sales affected by illegal downloads. As we approach summer, hopefully ‘things will start to pick up’ for us and in the mean time, let me know what you think.
Am I completely wrong? Have I missed out an obvious point or ‘factor’? Or is the industry treating you really well right now and others that you know?
Please feel free to comment back. I look forward in hearing from you.
Replies to This Discussion
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Permalink Reply by Marcus Markou on
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Divian - I think this is the eternal question. I know lots of established actors who shouldn't ever have to go through a barren period - but they do. But certainly, is the business more insecure now than it has been? I'm not so sure. I think its probably more difficult to build a 'brand' as an actor because there are more media channels - TV and online channels (for example) and this has led to the slow decline of drama. You have more chance of building a 'reality TV' brand than you do as an actor. In other words, it's more difficult to become a household name as a actor or actress when you are competing on the Red Carpet with the various casts from endless reality TV shows (which I'm a fan of... The Apprentice or Grand Designs for example).
As media has fragmented, so the power of the actor has deminished. You can have a leading role in the West End, have a couple of years under your belt at the RSC and feature in a number of quality BBC dramas and still not be 'known'.
Yet, you can appear on Britain's Got Talent (with no talent at all) and have some kind of 'brand'. Some of those Britain's Got Talent clips get millions of views on YouTube (for example).
The industry isn't dead. Our conept of entertainment is changing. And the role of the actor has become quite fuzzy. Aren't the people who appear in some of these reality TV shows types of actors?
Certainly, the idea of drama as formulated by a writer and executed by trained actors has taken some kind of hit.
BUT... this is why theatre becomes more important for me. Theatre is the antidote. And I honestly believe that fringe theatre has never been as strong or as vibrant. I've been to so many good shows lately. For example, Cotton Wool at Theatre 503 blew me away. The quality of the writing and acting was truly amazing. And there it is, on my doorstep above a pub for a tenner.
I know you and I have an an email banter about this (by the way, this should be a forum topic) - but it boils down to the David Mament True and False conclusion - you just have to try and create as much of your own work as possible because that is the only thing you have control over: The work you do.
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Permalink Reply by Sam on -
I wish I could disagree and say that you're wrong, there's plenty of work out there that needs finding. Sadly, I can't as I share the same view.
It's an unanswerable question which is what makes it so frustrating. It's what steals the control from us. The 'never knowing.' Where one actor is complaining that theres a lack of castings/work, the next appears to be ticking along nicely. I think in my case (and I'm sure many will agree) I compare and judge my success alongside that which I see most often, tv soaps. Naturally, this is a poor example as there are a remaining 99% of us who struggle for work.
Reality TV, I believe, has had a large impact on the industry. This is what people want to see, 'normal' people making fools of themselves then being transformed into minor (or major) celebrities. Actors love reading about actors who have pounded away for decades and finally got their break but I don't believe that the average person cares less. They'd much sooner pick up 'Heat' magazine and see what the latest Big Brother evictee is doing.
I most certainly am at a point where it's becoming a difficulty. At 32, I tell myself I'm at an awkward casting age but I know deep down it's a guard, a defense mechanism. I've had 2 castings in 7 months so I'm familiar with the aforementioned 'droughts.'
In some ways, this makes me feel better; that I'm 'failing' because the industry is in a state. It means that I don't have to punish myself for being too this or too that! Its perverse, I know, but I'd sooner hang up my tap shoes because theres an industry breakdown than any other reason. Right now I'm at the point of quitting. I'm pissed off, frustrated and feeling incredibly sorry for myself. I even wonder sometimes if I still have the passion or if its become an obssession to 'crack it', more of a mission.
Maybe this will flounder in the next few days but if not I may die a bitter and twisted old woman! I'm sure I'll report back...
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Permalink Reply by DivianL on
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Dear Sam,
I'm sorry for the late reply and I am glad Louise has posted her comments too. I completely understand your frustration but hope you do not decide to give up totally. Of course we need to work for a living and maybe Marcus is right, having the idea of creating your own work. Even this has its difficulties. I am at a point of total frustration too. I’ve had really top things going on and not one of the 50 odd casting directors or 10 or so artistic directors I invited bothered to come along. I mean, this is a major part of their job and it can’t get more frustrating. What’s the point of making your own noise when no one is going to listen?
It upsets me to know your audition stats. Mine are lower than normal too this year but then again the poorly written BBC sitcoms and sketch shows I’ve been up for, are so bad, I may as well not have bothered. Especially when the producers really like you but don’t think you’re famous enough!?!? Why audition me then????
But the thing is Sam, even with all these things going on, whatever the reasons are, I’m still going to keep at it because when I look back at the handful of projects I’ve been involved in, then, I believe it’s all been worth it. They may not be exactly as I dreamt them to be but I got this far, I really still enjoy it, so why should we stop? If it is time for a quite spell, then fine, let it be. Maybe there will be a busy one soon after. After all, ratings on reality shows are dropping and the public don’t even like the reality wannabe stars.
And I think 32 is a great age. Your still young but know you have developed your craft and can play more complex characters with real meat and bite that you couldn’t have ten years ago.
I think keeping the possibility open is better than ruling it out altogether.
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I will say it again... You have to create your own work. It is also far more enjoyable, more rewarding and more interesting. You need to find a gang of like minded people and get projects on. Yes - you will fall out. Yes - you will lose money. Yes - you may never fulfil the original expectations. However, you will end up, as a result of putting these projects together, working with people you never imagined you would work with, learning things you never knew and find yourself thinking of other projects you never imagined. More importantly - you will start taking control of your own career. No one, ever gave me a job. At first, I was offended. Now, I realise I was being looked after. Remember this very simple thought: Rejection is protection and re-direction. If you have been rejected, you must see this as a positive. There is something better for you. I have a very simple strategy for life. Push on the door you want to go through. Push hard. However, if the door (for whatever reason) just won't open, push on the door next to it. If that stays shut, push on the next door and so on. One will open for you. In fact, some doors require no pushing at all. This is the one you're meant to go through.
This happened to me. I left LAMDA in the summer of 1999 - with a good agent. I had been given the lead roles and felt confident. After endless castings I still did not have a paid job. I actually kept a diary of all my castings. When I got to casting number 20 I started to get downhearted. However, in the meantime, the website of a magazine I had helped my family launch - BusinessesForSale.com - had attracted a lot of attention. My family asked me to put the acting on hold for a few months while I helped my brother raise some money to get the website off the ground. It was one of those doors that just opened. And I found myself walking through a corridor of doors that just flung open. We rasied nearly £2m, built a successful dot.com business, employed people, bought an office and continued to grow the the business.
At the time, I remember being utterly torn. All I wanted was to be an actor. But here I was being a businessman. Was I businessman? Really? I always hated the notions of business. Actually, I found I could be anything I wanted to be. My own kind of businessman.
To keep the acting bug at bay I joined an improvisation company called Fluxx - where I met Divian. I have to say, it changed my life. I realised that I could get on stage with Fluxx and push myself as an actor in a way I would never do with a paid job for an ITV drama (yes, I did end up getting the odd part playing a Turkish drug dealer or Greek policeman).
I also found that as the buisiness (I had no real interest in) started to become successful I found that I had the financial freedom to start producing my own work. No one else was going to produce my plays so I produced them myself. Suddenly, the acting door was not as exciting or as interesting as producing my own material with my own money.
I have another project planned fo next year - my own play to be produced with my own money.
I still push on the acting door with Fluxx but my expectations are very different. It's not a career. It's a passion for acting.
And really - it's taken me about 15 years to get to this point. I started pushing on that first door 15 years ago. It didn't open - but others did. And I would advise anyone here to push on those doors. You never know where you will end up. Frustrated actors make the best directors, producers, writers, theatre owners and practitioners.
There is a very large world for actors beyond acting.
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Permalink Reply by toahollywood on
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