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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What do you look for in a makeup artist?

Headshot by Vanie Poyey

Tell us your thoughts!  Over the years, I’ve heard all the nightmare stories as well as all the praises.  The men and women on my website have used the services of a professional makeup artist that I’ve provided.  Because I’ve heard it all, I have very specific criteria when working with a makeup artist to make sure you have the best experience possible.

For one, I look at their work and make sure they are talented and meet with them before trying them out.

During the meeting, I hand them a list of preferences for headshot appropriate makeup that agents want to see.  You’d be surprised how many people either overdo or don’t do enough makeup for headshots.  Little things like not using fingers to touch up under the eyes and prevent infections etc. are discussed as well.  You’d be surprised…

I like working with people who are professional and have an all around good attitude.  I look for artists who really enjoy what they do, like to have fun and are not eager for the shoot to end so they can leave.

Professionalism to me means being on time and not using your time to chat on the phone or to text.  Being attentive to your needs as well as being agreeable to your requests.  After all, we are providing a service for which you are paying, so you’re the boss!  After makeup is applied, if you request any changes, my makeup artists will not get offended or give you a hard time!

During your shoot, you won’t find my gals texting or wondering off.  When I’m working, they’re working as well.  They will be watching closely for a hair out of place or wardrobe malfunctions or touch ups that may be needed.

And for you dark skinned folk, I make sure to work with professionals who understand all skin types, won’t make you look ashy and are mindful of the tonal variations on your skin!

The following headshot examples display a range of makeup applied to all skin tones, old and young, male or female, white or black! Currently my very favorite go to gal is Tara Shakespeare!

Three time returning client Arae Murdoch has come all the way from Canada to finally call LA home!  Sassy or sweet, Arae is a veteran in front of the camera!

Will Brennan, Amy Blair, and Nicholas Downs know how to bring back this rustic look.  Whether a fun dad, a lovely leading lady, or a hip guy next door, these three sure know how to work plaid!

You really can’t go wrong with fiery red hair combined with amazing talent!  Angela Gulner does this look with flawless effort!

Kelly Lynn Washington was so much fun to work with!  With a Jodie Foster essence, she displays a full range from the girl we love to hate to our high school sweetheart!

I’m so flattered that Douglas M. James had his first headshot session with me!  He had such amazing talent and energy which really pulls through in this shot!   Andrea Meier displays a sense of understanding and comfort with those sweet eyes!

Lawrence Lacey has a great personality and a chameleon!  I think these shots show how he can switch from sour to sweet in the blink of an eye.  thanks for protecting us in that alley Lawrence!

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Three tips to help you book the job!

Actors’ Headshots by Kayvon Esmaili

Guest Blogger:  Kayvon Esmaili

A working actor as well as an amazing photographer, my associate, Kayvon Esmaili is a multi talented artist.  I asked him to guest blog and share with you three tips that have helped him book the job.   Of course I couldn’t resist sharing some of his headshot work taken for Vanie Poyey Photography.  Kayvon shoots for me for those on a tighter budget!  If you’d like to book with him, mention this blog and we’ll throw an extra outfit into your package!  To view more of Kayvon’s work, click HERE!

“In my 10+ years as an actor, I’ve starred in over twenty national commercials. I’ve come away with one certainty about auditioning: The sooner you stop trying to control the outcome, the more likely you’ll be to book. I spent the earlier years of my career attempting to control the booking, to will myself into the role. Turns out when you learn to change your attitude in the room (and once you’ve left), things seem to come to you a lot easier. The following three tips have become little jewels in my career, leading to increased bookings and having the side benefit of keeping me sane.

• Trust me it’s a numbers game. Give them your take on the role and leave the rest behind. I gave up guessing whether the role is right for me or not. Turns out the actor is not the best judge of that, and it doesn’t help much to waste energy guessing or hoping. The character you’re auditioning for already lives in the minds of the director and other creative decision makers. Most of the time it’s such a subtle quality they’re looking for that they couldn’t explain it to you if they tried, thus they bring in anywhere from five to sometimes a hundred different actors to find “the one”.

• Get in the habit of NOT needing the job. Train yourself. It’s seemingly going against the feeling in your gut, but try it. Often times the most preparation an actor puts into their character is that of neediness. Even when the character isn’t needy. Need, expectation, desire, the money, are all things that get in the way of your performance. Unless the character is needy, try to walk through the door NOT aiming to book the job. Booking a job is out of your hands, so why add the pressure of worrying about it to your audition process?

• Positivity goes a really long way. As actors, it can be easy to forget that this is a business, a job. Like in any field, nobody wants to be around let alone hire someone who’s giving off bad vibes. I’ve found being easy-going, agreeable, and being able to go with the flow during the audition process pays off. It’s a sign of an actor ready to be directed, which is a very attractive quality to a director.

And remember that if you’re not having fun, the people watching won’t be having fun. This lesson took me a while to learn. When it comes to performance time, you should be playing. I would say acting is closer to a recreational sport than a science. If there was no spontaneity, no creative exploration on the field, we’d all get bored watching the game. The same goes for acting.”

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