Regular readers of The Actors Voice know that I have encouraged actors to WAIT until they are truly ready to make a move to a major market. When I reached out to Portland’s top casting director Lana Veenker, I knew her contribution on any topic would be of value to readers everywhere, but I had no idea how EXACTLY dead-on her words would be (and so timely, with everyone itching to make a big move for Pilot Season)!
Benefits of Working Regionally
If someone had told me, after living in several major cities around the world, that I’d return home to Portland and start a casting company, I’d have raised an eyebrow. I didn’t imagine there was any industry to be spoken of here.
But I was wrong.
Portland, like many other regional markets, is hopping. From big Hollywood productions excited about our locations and film incentives; to indie filmmakers wanting to do projects their own way; to the plethora of commercials, infomercials, industrials, and animated films being shot here every year; regional production is in full swing.
Actors, however, are always waxing poetic about moving to LA or New York. “There’s just nothing going on here,” they tell me. “I want to be where the action is. You know — get an agent; start auditioning for pilots and stuff.” So, they pack up and go, only to find themselves working two day jobs, wasting away in traffic, dodging as doors slam, and watching their acting chops atrophy.
They battle it out for a while — like our home state salmon struggling upstream — then return home with their Hollywood war stories and new cachet of being LA actors. But when pressed, they’ll tell you why they really came home: “I just wanted to WORK. I didn’t realize how great we have it here, until I got to LA and no one would even give me a chance!”
Which is why I like to remind actors of the benefits of working regionally.
If you’re a strong actor, you can be a big fish in small pond.
We recently cast projects for directors Robert Benton, Gus Van Sant, and Gregory Hoblit. Whereas only a tiny percentage of actors ever get a shot at a director’s session in LA, many of the top Portland actors made it to callbacks and got to work one-on-one with these directors — even some actors who were unrepped with no SAG cards. A few landed major roles; others got smaller parts, plus experience and material for their reels. (Oh, and several beat out the top LA selects for the roles, so there!)
In a smaller market, it’s easier to meet the players.
It doesn’t take long for a skilled actor to become known to all the local casting directors when there are only a few offices. When someone’s good, it’s common for us to read him or her a half-dozen times a week for various projects. Compare that to the number of auditions an LA or NY newcomer gets to attend. You can also meet the top directors, producers, talent agents, and so on, with relative ease. When word of your talent gets around, you’ll be in great demand. And when big name films come to town, you’ll be high on the list for an audition.
Quality of life: time to exercise, study, etc.
In a regional market, you spend less time commuting and trying to make ends meet, which means more time to devote to your craft — AND to having a life outside of acting — which, in my opinion, makes you a more interesting, well-rounded person. At a recent callback session in our offices, a visiting New York director asked each actor what he or she did for fun. He was shocked by the answers: snowboarding, kiteboarding, cycling, hiking, painting, volunteer work, real estate investing, travel, and so on. “Wow,” he commented. “When I ask actors that question in New York, it’s always the same thing: shopping and clubbing. People in Oregon have a LIFE!”
Join the unions.
You’ve got a better chance of getting Taft-Hartleyed in Portland than in Los Angeles or New York City. Because of the limited amount of union talent here, strong nonunion actors are frequently needed to fill in the gaps. Bingo! We file their Taft-Hartley forms and they get their union cards. [Note: Actors of diversity are especially prized, since demand is high and the supply is so slim.]
Theatre.
In smaller cities, it’s easy to juggle stage and on-camera work. The casting offices where you audition and the sets where your projects shoot are probably only ten minutes away from the theatre. Compare that to the drive from Studio City or Santa Monica to South Coast Rep at rush hour.
Independent films.
Portland and other regional markets are hotbeds of indie filmmaking. Some of the most interesting and original filmmakers deliberately make their homes outside of Hollywood. If you’re a great actor, you can easily land the juiciest roles. Films we have cast locally have gone on to Sundance, Cannes, and elsewhere, providing springboards for actors who may not have gotten the opportunity otherwise.
Do your own thing.
Just as independent filmmakers choose cities like Portland to forge their own paths, so do independent-minded actors. Smaller markets are great places to start your own theatre or production company; write, produce, direct, and star in your own projects; launch a new idea or even start a business to support your craft. The risks are fewer since costs are lower and you can always relocate once your ideas have proven successful. Just think of your regional location as an incubator.
Save money for the move.
If you’re determined to relocate to a major acting hub, why not take advantage of the lower cost of living and shorter commute times in a regional market and save enough money so you only have to work part-time (or not at all) when you arrive? If you’re just going to spend your first two years in Los Angeles working a day job, you might as well do it in a regional market where you can sharpen your acting skills on meaty theatre and indie film roles and go out on commercial auditions daily.
The really cool thing about a few of the items on Lana’s list of benefits is that they also apply to actors in major markets. Even if you’ve already made the move, you can find ways to make the market feel smaller by networking, creating your own opportunities, doing theatre, developing relationships with indie filmmakers, and improving your quality of life. Remember: You have a lot of choices about how you pursue your craft in any market. If you’re living your dreams, do your best to make sure every day is a little dream-come-true in nature. Make it a priority.
About Lana Veenker
Lana Veenker began her career in London as a casting assistant; helping to cast European leads in features and miniseries for several major studios and networks. She had previously trained as an actor-director, so when the Portland native returned to her roots in 1999, she launched what is now one of the Northwest’s most successful casting companies. Her team recently completed casting on Gus Van Sant’s Paranoid Park and two Lakeshore Entertainment features, Feast of Love and Untraceable. Her commercial division has cast countless award-winning projects, including the cult phenomenon “Trunk Monkey” spots. She is the author of Marketing Tools for Actors, an online course offered at over 1200 universities and colleges worldwide.
This contribution originally ran at Bonnie Gillespie’s online column on January 1, 2007.