Anthropologist Scott Frank talks “Headshots” and how Casting Directors interact with them.

Actor Headshots: by Vanie Poyey

Blog written by Scott Frank

A couple of years ago, I had the pleasure of sitting with Scott Frank, an anthropologist who specializes in studying Hollywood, to discuss Headshots.  When I read the paper based on his research, I was fascinated to read about my business purely from the perspective of a study.  I was particularly fascinated by the section on Casting Directors, part of which Scott agreed to share here.  Are headshots really not as important as actors think?  Judge for yourself!

Hi there.  My name is Scott Frank, and I’m a professional anthropologist (i.e. I have a Ph.D in it), who’s specialty is studying how Hollywood works.  The following is an excerpt from a paper I presented last year at a national Anthropologist’s conference.  The subject of the paper was headshots, and how different people in Hollywood interact with them in different ways: actors, headshot photographers, and casting directors.

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Casting directors are, in a sense, unusual in that they are the end users of headshots, and ultimately the eyes for which the entire process of actors and photographers regarding headshots exists.  It’s also the least precise group – technically, it’s probably better to use the term “casting professionals,” because many people can be involved in casting – there can be several levels of casting directors, casting associates, etc., or for a small production, the producer or director might even do it themselves.
In any case, the first thing to understand about these casting professionals is that they look at a LOT of photos.  One told me that for a standard smaller film role, looking for, say, a 22 year old female, they might get 7,000 submissions.  Another told me from his experience on network TV, for a minor guest star role, there would be between 1,500-3,000 actors vying for the slot.
The method through which most casting in Los Angeles works involves a complex series of events, but almost everybody at one point ends up using one of the online casting services, and eventually using the physical headshot artifacts themselves.  Very briefly, for example, a TV show would send a script to Breakdown Services (which everyone uses); Breakdown will pull all speaking parts, make a description, and send it back to the casting agency for approval.  Once approved, the descriptions get posted online, and they wait for the applicants to pour in.
The next stop is the headshot-intensive one.  Casting professionals will scroll through all these hundreds – really even thousands of headshots for each role.  Each shot is either passed over entirely, or rated a 1, a 2, or a 3, a ranking of how excited they are about each prospect.   And here’s the part that I personally find fascinating – the way they select from all of those thousands of photos.  For all the time and energy put in by the actors and the photographers to make each shot perfect, to make it really sing, the initial answer from casting people I spoke to was “I pick based on impulse and instinct.”  When I started interviewing casting professionals, I admit I was hoping to hear some hard-and-fast rules, some strongly guiding principles for what they can tell is a good versus bad headshot, but truth be told, instinct is the only way really to do it – when you have to look at 7,000 photos over the course of two days, you can’t spend time really looking at each one; a quick glance and an instinctual response is the only way to pore through all of that data.  Because that’s what your headshot is to a casting professional: data that is supposedly indicative of something they need: a good, working actor.
When someone casting a show says they go with their gut when selecting an actor based on a headshot, that can mean different things: one told me that he flashes “when you can tell who they are in the headshot” – he says that means you can tell they’re a good actor.  Another said he’s flashing on how the actor fits the mental image he has of a character based on the breakdown description.
All of the casting folks say that headshots aren’t as important as actors think they are.  Which is in a sense true – the selection is based on many factors – but in a sense also seems false: the casting professional is zooming through hundreds of shots – the only thing they are going on at first is your headshot.  As one actor said, “all a headshot does is get you through the door”, and the casting professionals agree – after that, it’s your resume, and your actual ability, as demonstrated during a readthrough or pre-read.
The other thing that casting professionals seem to agree on is that somehow, in a way nobody is quite able to explain, in a truly great headshot, the actor’s personality – not just their appearance – comes though.  One casting agent said that this happens in .3% of all headshots.  At first I assumed he was joking, but then I ran the numbers and it makes sense: if you have a pool of 2000 applicants, .3% comes out to six people you’d strongly believe are up for the role, which sounds about right.  In a sense, it’s shades of the old saw – that a photograph really can capture your soul; or at least an actor hopes it does.

Oh, and by the way, the other final rule I discovered in my research?  Nobody – successful actors, agents, headshot photographers, casting professionals – thinks that an actor can pick their own headshot.  When you’re selecting which one to use, ask for the advice of other people you know and trust.  Speaking as an anthropologist, it’s not about which photo makes you look the best, but which one transmits your personality to the viewer.

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Headshot Marketing Tips Anyone?

Headshots by Vanie Poyey

Keep a look out for the September 22nd issue of Backstage’s Spotlight on Headshots where I talk about marketing tips for headshots!  Can’t give away whose photos will accompany the article but your picture might be included!

The following images are all taken at or around our new studio in the Los Angeles Arts District!

Amy Tolsky was the first client in our brand new loft!  Here she shows off her quirky personality in both the professional look as well as in the friend look!

Whether edgy like Beau Dawson or sweet like Will Hawkes, everyone needs someone to lean on.

Danny Epstein did a great job displaying a range of his talent with all these fantastic looks!

Lauran Siegel brought so much variety to the shoot!  Is there any role she can’t play?

Marlene Sharp knows how to bring out some spunk!  She captures this look perfectly.

Husband? Kids? Work? All the way from New York, Elissa Piszel can handle it all!

With a classic smile and these big brown eyes Daniel D. Kountz can win anyone over!

Patrick Quinlan can get to the bottom of any case and handle any client.

Three time returning client Jason Broad is always a pleasure to work with.  He can work any job from the office to the streets!

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Why are some headshot photographers so F$%&^# expensive?

Headshots are expensive to make!

Professionals fully invested in their craft pay a high price for the ability to create quality images.

To start, professional equipment is expensive.

Prosumer cameras cost upwards of $2700.   Pro cameras cost upwards of $8000.  Multiple cameras for backups in case of failure on the job are a necessity.  Pro lenses are $1200 and up.  Most of us own at least five.  Flash units cost $400 and up.  Then there are Computers.  Computers with mega fast multiple processors and mega large RAM, to handle super large files coming out of cameras, and the power needed to process them, cost about $5000 and up (if you like Macs).  I personally have and need three desktops and one laptop to share with my assistants.  Multiple monitors easily cost $3000 and up.  Hard drives to store thousands and thousands of digital files cost $80 and up for 1Terabite.  They used to cost a whole lot more.  Additional hard drives to store the backups for the thousands and thousands of digital files cost $80 and up for 1Terabite.  Number of hard drives you may find at a pro studio? Easily over 100.

The list goes on.

Studio equipment including multiple light heads, power packs, umbrellas, soft-boxes, stands, sandbags and backdrops are worth thousands.  Cases for storing and transporting equipment cost a bunch more.  Pro photographic printers are usually $700 and up.   Software like Photoshop, In Design, Lightroom etc. are very expensive.

Even more is needed…

Tons of accessories, CF cards, filters, transmitters, light meters, multiple reflectors, flags, tripods, multiple battery backups to prevent loss on multiple computers in case of a power outage, assistants, the education needed to keep up with the ever changing world of software.  Oh and let’s not forget insurance to insure thousands of dollars of equipment.

And of course profit margin…

For things like eating, medical insurance, a car followed by more insurance, a home, some time off, shoes, more shoes, a boyfriend and four cats.

The following headshots were taken by an expensive professional.

What characters these guys brought through!  With a pair of stylish glasses and a slight smirk, Amir Levi was able to bring out that approachable guy at the office!  Whereas Drew Hinckley was able to get in your face with his larger than life personality!

Confidence really goes a long way!  Tarniesha Stimage  shows us she can really take charge with this strong, yet womanly, essence!

Bill Hofto effortlessly goes from that stay-at-home dad living in the suburbs to that over-worked guy slaving away at a corporate office!

Next, Jerry Hernandez was a pleasure to work with and was able to bring out this timeless edgy look.

What a doll!  Whether she’s the girl that will take you out on the town or the one you sit side-by-side with on a swing, you can’t help but fall in love with Sarah Marie’s  gentle essence!

John Bozeman really brought out some serious range!  Here, he displays the commercial business professional followed by that struggling blue collar worker!

Returning client, Gary Brintz brought out some great characters as usual!  Here he is commercially, ready to crack some jokes followed by his more edgy essence as the guy we don’t want to mess with!

Kevin Walker brought on the hip edgy student whereas Julie Zhan pulls through as a preppy college girl!  Kara Gibson puts us at ease with her warm and friendly essence!

Eric Olson drove up all the way from Palm Desert!  Here he showcases his sinister smirk and piercing stare then brings out the inspirational coach or supportive dad!

Jamie Driscoll is an expert at wearing different hats both in front of the camera and with his own personal projects!  I think that ability really shows through his headshots too!  Keep up with his progress here! As it turns out, the apple doesn’t fall too far from the tree!  Check out Jamie’s son Jru’s page for updates on his debut record!

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