10021 Crow Lane
Denham Springs, LA 70726
(225) 408-9857
actorschoicetalentagency@gmail.com
www.actorschoicetalent.com













Introduction
Rules & Regulations
Talent Websites/Instructions for Use
Agency Forms
Entertainment Resume WEB Resources (with Samples)
Sample Actors Resume
Sample Models Resume
Definitions
How To Slate
Audition Tips
Tips
Local Resources – Photographers & Instructors
Professional Head Shot WEB Resources (with Samples)
2
Hi, I am Lisa Fuller, Owner/Agent at Actors Choice
Talent Agency. I work for you, to get you work and
experience in the entertainment industry.
This handbook was created for you to give you all of
the tools that you will need to help you succeed in
this industry. Please take the time to read it carefully.
It will answer most of the questions that you may
have.
I am glad that you have joined the Agency and I look
forward to working with you!!
3



















Talent are NOT employees of Actors Choice Talent Agency.
Talent must follow all terms in the attached exclusive contract.
Talent is contracted with Actors Choice Talent Agency not the Client.
Actors Choice Talent Agency has a separate contract with the Client.
Talent must not give any personal contact information to the Client. Always give the contact
information on Actors Choice Talent Agency only.
Talent must be professional at all times.
Talent must never disagree or argue with the Client.
Talent must never use foul language in front of or with the Client.
Talent must never discuss rates and/ or assignments with other Talent or Clients.
Talent must never gossip with or in front of other Talent or Clients.
Talent must never chew gum or smoke on castings or auditions.
Talent must be careful with their posting on ALL Social Media sites
Talent must fill out all vouchers and/ or payment sheets with Actors Choice Talent Agency’s
contact information ONLY. ex: address and phone number
The normal time for a Client to send pay is within 14-90 days after completion of the project
(depending on the project and client).
Once Actors Choice Talent Agency receives payment from the Client it will then be processed
and all commissions will be taken out then the remainder will be sent to Talent.
Under no circumstances is Talent allowed to contact the Client.
If parent is booked with the child, the parent owes commission also, even if parent is not a
signed talent.
To be pictured on the website, there is a $100.00 charge per year. If you wish to be pictured
you can pay online by going to the website and click on Contact Us.
To make your AgencyPro Account “Active” there is also a charge from AgencyPro. You can
pay monthly or yearly. When Active your account has a lot more functions. Having an
“Active” AgencyPro Account is NOT required.
4
Register on all of these websites ASAP!!! This is where you are being submitted for
the principle roles!! Only people that are represented by the Agency are allowed to
register on these sites. DO NOT SHARE THIS INFORMATION WITH ANYONE
THAT IS NOT A TALENT OF ACTORS CHOICE TALENT AGENCY!!

www.actorsaccess.com


www.castingnetworks.com


Click on Representation (may also have to Click New Orleans) choose Actors
Choice Talent Agency
www.castingfrontier.com


Click Talent Rep and add Actors Choice Talent Agency
www.nowcasting.com


Agency Code: 68A3AA0
www.castittalent.com


Click on representation and add Actors Choice Talent Agency.
Click on Representation and add Actors Choice Talent Agency
www.letitcast.com

Click on Profile and Representation and add Actors Choice Talent Agency
5

The Agency Forms are sent to you via email from RIGHT
SIGNATURE. There are copies of these forms on the website on
the Members Only Tab.





Check your email for the email from Right Signature.
Click the link in the Right Signature email.
Fill out the documents online.
Print out the Limited Power of Attorney Page, have it notarized and
mail to me. See the Checks go to Agent page for the address to mail it
to.
PARENTS OF CHILD TALENT ONLY
For Child Talent…. In addition to the child's Limited Power of Attorney
Page, Print out the Coogans Account documents, fill them out and fax
them to the number in the instructions. When you receive proof of your
child's Coogans Account, scan and email to me.
 For Child Talent….. Also Email me the child's Birth Certificate and
Social Security Card. The documents are required to get a Work Permit
for your child from the Department of Labor to work on any movie.

NO TALENT WILL BE SUBMITTED FOR ANY WORK WITHOUT
ALL DOCUMENTS AND PAPERWORK!!
6












NOTE: ALL RESUME’S SHOULD DISPLAY YOUR AGENCY ADDRESS AND PHONE NUMBER
ONLY!! NO PERSONAL CONTACT INFORMATION.
There’s a standard format for résumés that, while not a hard-and-fast rule, is typically followed.
You use only one 8½” x 10” page, so arrange your space carefully. The format will cover the following
and typically are in this order.
1. Start with your name. Boldface, center.
2. Beneath your name, also centered, list your professional affiliations such as SAG, AFTRA, Equity. If
you're not a member of a union, simply skip this step.
3. Give your physical description—height, weight, hair and eye color, and sizes. If you’re a singer,
specify your vocal range.
4. List contact information—Since you now have an agent, put agency name here under "Represented
by...."
5. Also add Agency Website and Agency Email Address.
6. Experience. This is the most difficult to organize because space is limited. Subdivide this section
into: “film,” “television,” “stage,” “voice overs,” “commercials,” “print”, and “other” such as trade
shows, theme parks, or cruise ships. You’ll want to devise a table to organize the categories in columns.
(Tip: Leave off any headings that you are not using to save space.)
Column One: Name of play or movie.
Column Two: Role you played.
Column Three: director’s name.
7. Training. Acting, voice, dance, workshops, scene study—where you studied and with whom. If
space permits, and if the training session was substantially long, consider indicating how long you
studied.
8. Special talents. List your special skills such as juggling, acrobatics, pantomime, dance, stage combat,
ability to speak foreign languages, dialects, and the like.
9. Theatrical awards and honors.
7
8
9






























CD: Casting Director – The person or persons who will be casting talent into the specific roles for specific projects.
Slate – Your introduction either at the beginning or at the end of your audition (CD will let you know when to slate).
Breakdowns – Another term used to describe the Actors Access website.
Submitted – Means you were sent in for the role. The CD has to review all submissions and pick who they want for
each role.
Booked – Means you were picked by the CD for the role and will be working on the specified day.
TERMINOLOGY
Action: The cue that is shouted when the camera starts rolling
A.D.: Assistant Director
Ad Lib: made up dialogue that is not scripted; a form of improvisation
Art Director: Person who creates and designs sets
Avail: a courtesy situation extended by an agent to a producer indicating that a performer is available to work a
certain job. Avails have no legal or contractual status
Background Talent: Also known as extras
Best Boy: In films, the assistant to the electrician
Billing: The order of the names in the titles or opening credits of a film or television show
Bio: (or biography) A resume in narrative form usually for a printed program or press release
Blocking: The physical movements used by actors in a scene
Booking: A firm commitment to a performer to do a specific job
Boom: An overhead microphone, often used on-set, usually mounted on an extended pole
Breakdown: A detailed listing and description of roles available for casting in a production
Buyout: An offer of full payment in lieu of residuals, when the contract permits
Callback: A follow-up audition
Call sheet: Production term for daily listing of shooting schedule, scenes and cast involved
Call time: The time you are due on a set
Cattle call: often known as an “open call”, a large open audition
Close-up (CU): Camera term for a tight shot of the shoulders and face
Cold reading: An unrehearsed reading of a scene, usually at auditions
Commissions: Percentage of a performer’s earnings paid to an agent’s managers for their services
Composite: A one-sheet of photos representing an actor’s different “looks”
or local agencies
Wrap: finishing a production

10




























Conflict: Status of being paid for services in a commercial for one advertiser, thereby contractually preventing
performing services in a commercial for a competitor
Copy: The script for a commercial or voice-over
Craft services: On-set catering
Dailies: Screening of footage before it is edited
Day-player: A performer hired on a day-to-day basis, rather than under a long term contract
Downgrade: Reduction of a performer’s on-camera role from principal to extra
D.P.: Director of Photography of Cinematographer
Dress the set: To add items/props to the set
Drive-on pass: A pass to drive on and park at a studio
Emancipated minor: A minor under 18 who has been given the status of a legal adult by a judge
Employer of Record (EOR): The company responsible for employment taxes and unemployment benefits
Executive Producer: The person responsible for funding a production
EXT. (Exterior): A scene shot outside
Field rep: SAG staff member who ensures contractual compliance on a set
Forced call: A call to work less than 12 hours after dismissal of the previous day
FX (Effects): Special Effects
Gaffer: A crew member who places lighting instruments
GED: General Equivalency Diploma
Gofer: An errand runner
Golden time: Overtime after the 16th hour
Grip: A crew member who moves set pieces or props
Hiatus: Time when a TV series is in between production
Hold: A contractual obligation for a performer to be available for work
Holding fee: Set payment by an advertiser to retain the right to use a performer’s services, images or likeness
on an exclusive basis
Industrial: Non-broadcast, often educational films
INT. (Interior): A scene shot indoors
In time: The actual call time or start time; also refers to return time from a break
Looping: An in-studio technique matching voice to picture (Also known as ADR)
11



























Meal Penalty: A set fee paid by the producer for failure to provide meals as set by the contract
Monologue: A solo performance by an actor
Out time: The actual time after which you have changed out of wardrobe and are released
Overtime (OT): Work extending beyond the contractual workday
P.A.: Production Assistant
Pan: A camera shot which sweeps from side to side
Pick-up: an added take because of a problem with a shot
studio production
Pilot: The first show introducing the characters and situations for a potential series
Popping: A vocal term used to describe the sudden release of blocked air into a microphone causing a popping
sound
POV shot: A point of view shot; camera angle from the perspective of one actor
Principal: A performer with lines or special business which advances the storyline
Producer: (or Line Producer) The person responsible for the day-to-day decision making on a production
Re-write: Changes in the scripts; often made using color-coded pages
Scale: Minimum payment for services under Union contracts
Scale+ 10: Minimum payment + 10% to cover agent’s commission
Script Supervisor: The crew member assigned to record all changes or actions as the production proceeds
Sides: Pages or scenes from a script used for auditions
Sight-and-sound: Parent’s right’s under Union contracts to be within the sight of the child performer at all times
Signatory: An employer who has agreed to produce under the terms of a union contract
Slate: A small chalkboard and clapper device, used to mark and identify shots for editing; also the verbal
identification by a performer in a taped audition (i.e. “Slate your name.”)
Stage Manager: The person who oversees the technical aspects of an in-studio production
Station 12: At SAG, the office responsible for clearing SAG members to work
Studio Teacher: Set teacher or tutor, hired to provide education to working with young performers; also responsible
for enforcing Child Labor Law
Stunt Coordinator: The persons in charge of designing and supervising the performance of stunts and hazardous
activities
Submission: An agent’s suggestion to a casting director for a role in a certain production
Taft-Hartley: A federal statute which allows 30 days after first employment before being required to join a Union
12






Take: The clapboard indication of a shot “taken” or printed
Take 5: The announcement of a periodic five minute breaks
Waivers: Board-approved permission for deviation from the terms of a contract
Walk-on: A very brief role
Wardrobe: The clothing a performer wears on camera
Work Permit: A legal document required to allow a child to work, issued by various state
13


Look directly into the camera not at the casting
director.
Speak clearly and with confidence. Do not sound like
you're asking a question. For example, say "Jane Doe."
NOT "Jane Doe?" You know your name. Just take a
deep breath and introduce yourself. Your name should
be followed by your height and agency that represents
you. On occasion you may receive additional
information to say during your slate.
A proper Slate:
Hi, my name is _______. I am ______ tall and represented
by Actors Choice Talent Agency.

14




ALWAYS BRING YOUR HEADSHOT AND RESUME TO
AN AUDITION WITH YOU!!!
Do not walk up to the casting director and shake his/her
hand when you are introducing yourself. It may seem cold,
but casting directors usually do not want to be approached
or made direct contact with. Slate, perform, be polite...that's
it.
After you slate, wait for the casting director to prompt you
to begin your performance, and then go right into it. There's
no need to say anything else, just get to business.
If you make a mistake or fumble the words, just try it again
and move on. You don't need to explain a problem or
excuse. It’s better to just keep things moving.
15









Learn Your Craft: Too many people think that acting is easy. Just like any art form, acting is a craft and must be mastered.
Take acting classes, watch other actors and take the time to hone your craft. There are a number of top tier actors who
make a point of working with acting coaches to be sure they remain at the top of their game.
Never Be Late: This might seem obvious. Casting sessions are usually just a few minutes and are scheduled at odd times
like 7:25 or 6:50 on purpose. Be early or don’t bother showing up. Patience weighs thin at a casting session and few things
will hurt your chances more than being late.
Know Your Lines: Again, this might seem obvious. Spend time preparing your lines. Prepare not only what you’re going
to say, but how you’re going to say it.
Don’t Rewrite Your Lines: Never, ever, ever say something other than what’s in the script. There’s no better way to
offend a writer than to come up with your own lines.
Listen, Listen, Listen: I repeated this one three times because I’m hoping you’re listening. Listen to what you are being
told. Sometimes the casting director will give you a bit of direction prior to the audition or during the audition on a
particular line. Listen to what they’re saying.
Make Sure Your Headshot is Accurate: There are few things more annoying then getting a headshot that looks nothing
like the actor who shows up. Be sure your headshot accurately portrays who you are now. If you’ve gained weight, cut
your hair, gotten a few years older then make sure your headshot shows this. Your headshot won’t be the one getting the
job and you certainly won’t either if you look completely different than what people were expecting to see.
Commit!: Actors who genuinely commit to a reading are fun to watch. They literally transform themselves into a
character. By committing fully to the reading, you will not only dissolve any nervousness, you’ll show the decision
makers that you should be considered because you can play the part with a genuine passion.
No Excuses! The fact is no one cares that you had any incidents pop up. Life happens and sometimes things go wrong
and in a normal world, this might be taken into consideration. No matter what excuse you give for your tardiness, or
unpreparedness, there are dozens of other people happy to take your place with no excuses.
Being an actor is not the easy life it may seem. There are often long periods of financial insecurity, huge amounts of
competition along with multiple forms of rejection that make the overall process that much more difficult. Many actors
will never succeed simply because they ignore some of the most basic elements. Give yourself the best chance at success
by following these simple tips and you’ll quickly find that you’re already ahead of the game.
16

Photographers




Aimeezing Faces Photography – Aimee & Ron Carr –
225-369-2389
Bleu Photography – Quinn Gordon – 504-982-7246
Hera Photography – Michelle Dry - (225) 369-0399
Michelle@HeraPhotography.com
Coaches/Trainers/Consulting


Actors Alliance Productions – Veleka Gray – 504-8123379 – www.actorsalliance.com
Lance Nichols – 504-715-0846 –
lance.nichols.5@facebook.com
17



http://digital-photography-school.com/howto-take-the-perfect-headshot-six-tips
http://www.headshots101.com/
http://michaelhyatt.com/9-suggestions-fortaking-better-headshots.html
18

If you have any questions, that are not
answered in this Handbook, please email me
at: actorschoicetalentagency@gmail.com
19