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Hi @reallyndacarter. Ummmmm, thanks for the advice, I guess? 🤷🏽‍♂️😁😆🤓 #TouchGrass

SPOTLIGHT: Hope

There’s a global pandemic happening. People are getting sick and dying by the thousands. Millions of people are unemployed, and more are filing daily. Places to gather are closed, and people are becoming more socially distant than ever. It’s looking bleak.

However, if you’re reading this, then you’re still here. And as a great and powerful divinely chosen Amazonian warrior once said, “So long as life remains, there is always hope. And so long as there is hope, there can be victory!”

Hold fast to hope in these trying times. Believe. Look deep within and find solutions. Solutions to keep each other safe, to support one another, and to be the light in not just your own bleak darkness, but each other’s. Because This too shall pass, and on the other side of this, is victory. A victory where people are healthy, are employed, and are socially connected. But this victory begins with the seed of hope, and that hope is found in one place. You!

Darkness. That’s what the current pandemic situation has seemed like to many of us. A thick, near palpable darkness that very much like COVID-19, is infectious, spreads quickly, weighs on us, and looms around for long periods. It hurts us not just physically, but emotionally and spiritually. And if we survive, the recovery time can be a painstakingly long. So how do we fight this? With light!

We have to bring light to this darkness. By doing so, it will burn away the infection, stop the spread, release ourselves from the heavy weight, and cast it away from doing us anymore harm; not just to ourselves, but to each other as well. But where do we get the light to fight? From within.

Anytime I have heard someone be described as, “…they’re such a light!”, it is clear what was meant. They are describing a warm, comforting, inviting, light which illuminates a path toward something good nourishing, connected and empowering. I truly believe that if we each took responsibility for our own existence and were to BE that light for ourselves, we could produce dramatic transformation. But how do we self generate this light? Look deep into the heart of darkness.

The ‘darkness’ of which I speak, are those people, places, and things that make you the angriest; Look DEEP into their eyes and face them. Face them with LOVE. This might be one of the most difficult things to ever do because it includes giving: compassion, empathy, equanimity, and joy. Give each and every one of those to the people places and things that make you the angriest, but also give them to the darkest things in yourself, and find ways to keep giving it to them/you every single minute of every single day. THIS is how I believe that we find the light, and in turn we end up BEING, and SPREADING that illuminating cure to everyone else.

So, as we are all surrounded by darkness these days, I pray that you will let it be an opportunity. An opportunity for you to be a solution and cure for both yourself and others by self generating the warm, comforting, and illuminating light which can dissipate the darkness, alleviate those symptoms which hurt us. I pray that you will find ways to daily create this cure by looking deep into the heart of darkness so that you can generate the cure of light which I believe can powerfully re-connect us ALL!

“When you see the heart of darkness, you will begin to perceive the light.” - Queen Hippolyte (Played by Beatrice Straight) in S2E4 of the Lynda Carter Wonder Woman TV Show.

#ThursdayThoughts #ThemysciraThursday #ThursdayMorivation #QuoteOfTheDay #AskWWWWD #ThrowBackThursday #BeTheChange #LassoTheTruth #WonderWoman

If you’re just joining Spotlight, then I’d like to welcome you to my personal journal of my personal journey as a performer. It’s a kind of way for me to look back on all of my experiences, and lessons I’ve learned, while simultaneously sharing what I’ve learned with you. Disclaimer: The word PERSONAL was utilized twice in the first sentence. Therefore, this is not the gospel or the truth, it’s just me sharing MY experiences in an effort to assist, if possible, in other people’s discovery toward climbing the ladder toward their own version of artistic success (end disclaimer). Today, I’m going to continue my detour past part (Part 5) of my observation of the Industry’s Corporate Structure (AGAIN), to touch briefly upon a concept that I live by in “Brian’s B’s” (Being aka Awareness, Business, and Behavior aka Conduct), of my A+B=C method. It is the concept and idea of how to make things practically tangible for others. When you make something tangible for someone, it becomes easily accessible to them. And if you can make it easily accessible in a brief way…even better! SIDE NOTE: If you are reading this blog for the first time, here’s a brief over view of my A+B=C method. A stands for the Abstract; It’s your dream and what you desire. C is the Completion or end result to the equation. It’s that Concrete product you have Concocted. However, B is the thing that doesn’t get much attention, and it is the most vital portion of the equation; It is your Being, your Behavior, and your Business. All the things that YOU actually DO to mix with the A and make the C happen! That is the basic overview of my system. Today, I’m going to focus briefly on the being side. Cultivating awareness is the most important part of ‘Being”. Knowing who you are, means knowing how you show up in every day life in different situations. Today, I’m going to break down five simple questions you can ask yourself when you are feeling stuck at a particular level.

This particular story begins earlier this year just after the events of “What Would Wonder Woman Do about Depression - part two”. If you haven’t read it, then let me give you the truncated version. Basically, my entire life had fallen apart and I lost everything. I barely had a few dollars to my name, everything was in storage, and I was living with my brother from another mother Louis Trenta. Keep in mind that my agency had closed and the theatre where I was employed wasn’t hiring. In effect, I had absolutely no income whatsoever. I didn’t know what else to do, so I looked into doing extra work. I hadn’t done any extra work in nearly 20 years, and it wasn’t necessary for me to do any over the last decade, because all of my acting-based income for the last ten years (including over $15k in savings/401k I had built and lost) was generated from principal, lead, or supporting work. Needless to say, at the time I considered diving back into the extras world, I was feeling a bit defeated and deflated. But I absolutely needed to generate income so that my life could get back on track. Therefore, I made my way over to Central Casting in Burbank, which is the premiere extras casting agency (in LA and probably the world), so that I could get listed.

If you know anything about their registration process, you know that in order to register, you must arrive very early in the morning (like 4:30am) and wait in line for hours (until 9am or so) just to make certain you make the cut to be in the registration group for that day. They only take so many people each time they register, and they only register a couple of days a week. Naturally, I was running late that day, and didn’t arrive until about an hour and a half before they began letting people inside. But I stuck it out anyway and waited in line for an hour or two. I met some really wonderful people in line. We ordered coffee together and kept each other company until it was time to count off for entry. The doorman who controls everything counted and counted until he finally got to the person in front of me…and stopped. I had missed entry by one person. FUCK! One of my last ditch efforts to generate income and I missed it by ONE FUCKING PERSON! I wasn’t going to let this stand. I proceeded to ‘pull out my chapstick’ as my friend Elijah says. Which is our code for putting on a winning smile and positive attitude. I then walked up to him with genuine genuflect in my voice and said, “Excuse me, I’ve been away from this for a while…If I was already registered about 20 years ago, would I still be in their system?” The doorman’s tone became immediately warm and helpful. He answered with a gracious tone, “Oh yeah, sure man. Let me get your info and I’ll go take a quick look for you.” I jotted down my identifying information for him. He took it, and walked away. Within a minute or two he came back and said, “Check it out, you’re still in the system. It just shows you as ‘inactive’. So all you need to do is come back tomorrow at 10am for the update session”. “Wow. Thank you so much!” I said to him and left gleefully. I returned the next day, updated my information and became active in the system. Within a couple of days I was on set doing extra work.

One of my very first extras job was downtown at the LA convention center. It was for an Apple commercial and there were about 350 people there all together (including extras, cast, & crew). i immediately made friends with a few people on this shoot. One of which was a guy named Robert. When I met him, I was utilizing one of my super powers. What is it, you ask? Well, I have this weird 360 awareness, which I think comes from being on stage so much, (or watching too much Xena: Warrior Princess lol) and as I was chatting with one person, I noticed out of the corner of my eye that Robert (who I hadn’t met yet) was sitting at a table by himself and slightly away from everybody. After finishing my conversation, I began to walk back to where my things were and said hi to Robert, whose table was along the way. He stopped me and asked, “Hey, I couldn’t help but overhear your conversation. Did you say that you had done principal work on commercials before?” “Yes.” I answered. “Can I ask you a little bit about that?” he said. “Of course. I’d be delighted to share what I can with you.” I replied. Over the course of the rest of the day, we talked about the industry, shared stories, shared struggles, and even found some of the things we had in common like martial arts and stunt work. Throughout the course of the conversation, Robert mentioned that he was feeling stuck and wanted to move to the next level. I told him about some of my tactics and that I was planning on writing a book about all of them and how my triumvirate approach had aided me in producing some pretty remarkable results. He asked about my techniques and I shared some with him. After a really long talk, I asked him if I could make a recommendation. He agreed and I told him that a key ingredient to my approach was the idea of consciousness. So, the two books I recommend he read were “The Big Leap” and “The Four Agreements”. The two as a pair give a double punch approach to my idea of consciousness: first, becoming aware of what holds you back, and second, creating a code to follow for the future. As we worked over those two days (which was how long the job was), we continued to bond and even connected with others including the first AD, second AD, director, and assistant director. As Tina D’Elia would say, “It was a good day!” :)

Cut to a few days ago. I was doing some extra work again and when I got to holding my face lit up. There sat Robert from the Apple/LA Convention Center job. We immediately went into ‘catch up’ mode, and since we had a little time to talk before the first shot, I figured I’d share a story with him. I said, “I have some really great news and a cool story to share with you!” “Oh?” he said sounding interested. “Oh yes!” I replied. I went on to explain to him that a couple of months ago I received an audition request for a commercial. It was only (and approximately) the 8th audition I attended after moving to Los Angeles. The audition was for State Farm Insurance, and I felt pretty good about it. The good feeling must have been correct, because the very next day I was asked to come in for a callback. This is where things went slightly sideways.

As I mentioned in the beginning of this piece, I went through a really difficult and challenging time over the last two years, which included a debilitating depression. (Link to  “What Would Wonder Woman Do about Depression - Part Two”) due to loosing everything and my life falling apart. Therefore, at the time I received the callback, I had three dollars in my account and the car I owned (which was barely running at the time) was nearly on empty. I remember looking down at the display which told me how many miles I had to go until empty and it said ’27 miles’. The audition was in Santa Monica, and I was in North Hollywood. That was 22 miles round trip, and with LA traffic the way that it was at that time of day, I knew I wasn’t going to make it. What could I do? I was at a stand still.

I began considering my options. On one hand, I had already marked myself as unavailable for extra work AND confirmed for the callback, so I was already out a hundred bucks and had given my word to be there. Besides loosing money, I was obligated to go. I opened up the Bank Of America app and checked my account….I only had $3 in ANY account. This was barely enough for a gallon of gas. And gas was what was missing from this equation…*gasp*! THat’s when it hit me, and I knew exactly how to get just enough gas to get back and forth. It dawned on me that I had a premium AAA membership which provided emergency gas as many times a year as you need it. So I called them up and had them bring me some emergency gas. It took about 45 minutes, but the AAA truck finally made it to me and gave me enough gas so that I could make the round trip to my audition and back.

I made it to the audition 20 minutes early. As I walked up the ramp to the casting office, I noticed a gentleman talking on the phone, while standing on the ramp just below mine. He looked very familiar, and within a second I recognized him as the first A.D. on the Apple commercial where my buddy Robert and I met. I said a prayer that I would  see him in the audition room. After waiting for a period, it was my turn to audition and it was a cakewalk. It was for a stunt person, so they asked me to do a couple of easy falls. After which they brought in another guy who did a basic mirroring acting exercise. The audition was actually a lot of fun and we ended on a fantastic note. I got in my car and went to the gym which was only a few blocks away and proceeded to get in a killer celebratory workout.

About two weeks passed. I was sitting in my brother’s room and, was preparing my next move. I heard absolutely nothing from the commercial. so I had released it in my mind and come to the conclusion that it went to another actor. That’s when my phone rang. I looked down and it was my agent. He must have another audition for me. I picked up the phone, “Hey, Joe!” “Hi Brian.” I knew something was up. My agent is a ‘get to the point’ kind of guy, so when he didn’t immediately go into audition information, I knew it was a kind of news. “What’s going on?” “Well, you’ve got a fitting for that State Farm commercial. It’s between you and another guy. They want to see you both to see who fits the costume the best.” “Okay. Where and when?” I got the information, went to the fitting, and made sure that I was my best Brian possible. I was wearing my usual Wonder Woman attire which included WW T-Shirt, necklace, bracelets, socks, and phone. I had a lot of commercial experience (over 110 commercials and industrials), and had a good bit of stunt experience, including costume work. And, since they were the effects company who did all the Marvel movies, I being a collector with over $15k in comic books, immediately had tons of things to talk about with them. They shared their concerns with me, and I assured them they had nothing to worry about by answering any and all questions. The other guy got there, and I was wrapped. Needless to say, I left the fitting feeling very strong. At least so I thought.

I heard absolutely nothing from my agent for a week. The phone rang and it was my agent. He let me know that he inquired and they haven’t made a decision as of yet. Another week went by and I accepted that I hadn’t booked this one. So, I let it go. Two weeks had gone by, and if I didn’t hear anything by now, then I probably wouldn’t. So I began to pray, and ask the universe to guide me to the next one. Louis walked in just as I got started meditating. We began chatting about our day and I heard my phone ring. I looked to see my agent’s name come up. It’s Friday at 4:30pm. Business should be…”*gasp*! This is it!” I said audibly to Louis. I knew that the commercial shot in a week, and they had to make a decision today. I answered the phone and heard my agent’s voice. It had a weird smirking tone as he said, “Hey Brian, it’s Joe. I’ve got some bad news for you…(pause)…You booked it!” And with that, I booked a principal role in a SAG/AFTRA National Commercial where I was opposite two celebrities. The exciting part about this, is when I got onto set and walked into my dressing room/trailer the second AD was waiting for me….and he was the same one that was on the Apple commercial where I was an extra. Matter of fact, the first AD, second AD, assistant director, and director were all the same exact people from the Apple commercial where Robert and I met. My world had come full circle in just a few months. But here’s the kicker…I still didn’t have the money to properly fix my car. So the day we were filming, I had to take the bus to set. And since I didn’t have enough money to get back home, I went to set on faith. Knowing that I might have to call Louis for a pickup. Luckily for me, I was able to get a ride home, and when I got home a check from last week’s extra work was waiting for me. So I made it back and forth to set with no problem for day 2. However, I wouldn’t have been able to do it without asking myself 5 questions about 5 specific topics along the way. Here are my five suggestions for things to ask yourself when attempting to move to the next level in your journey.

ONE - DO YOU HAVE FAITH? Wonder Woman once said that “Faith is a perception beyond the vision. Sometimes we must close our eyes to see the light”. This lines up with the Bible’s idea of ‘walking in faith and not by sight”. Not to say that we should deny reality, but that we must rather “Run with the Vision”. In earlier posts I posed the question: “What’s your mission?” After figuring out what your mission is, you can then create a tangible and detailed vision for yourself and your career, which I cover in “My Annual Business Plan Creation: ‘Twice As Good’”. And by having a detailed vision, you then have something tangible in which to have faith. By having your own simple, clear, distinct, detailed, and realistic vision, you have something in which to believe, to refer, and ultimately manifest and bring into fruition. The law of attraction states that ‘thoughts become things’. So when our thoughts are clear and direct we can manifest that much more efficiently. But remember that the law of attraction is neutral. So if your vision is selfish, you will produce results as such. If your vision is full of love, it will be full of love; bountiful and effervescent. Universal law is that we reap what we sow. The bible references the law of the universe when it mentions that things return to us ‘7 times 7’. So again, be careful about what you want and why. Therefore, to make sure you’re on the most efficient, effective, positive, and clear path as possible, One of my favorite first questions to ask is: Do I have a simple, clear, distinct, detailed, and realistic vision, and do I wholeheartedly believe and have faith in my vision? Because thoughts truly do become things. You just have to have faith, and very much like my aforementioned story mentioned, it may even be in the most difficult and trying of times!

TWO - WHAT CAN YOU DO RIGHT NOW? Sometimes, things can be more trying than usual, and your faith will be tested. Often without warning and sometimes repeatedly. Emotions will run high, and circumstances will seem near impossible. That’s why after you first, have grounded yourself through having faith, you can then move to step two which is to figure out what steps you can take right now. For me, figuring out situations in life very much parallels figuring out a character’s journey as an actor. When preparing a character we first figure out the given circumstances of that universe and how it works, which then grants us the ability to begin to make informed choices on what to do next. When we create the ‘givens’ of our own universe through detailed mission and vision, we are creating the intention for how things are going to run. It is after that, we can then make informed decisions on what to do next. This way, when we are in situations like when I was completely without gas or ability to get to a callback, I knew that my mission and vision was clear and that I had to accomplish this. Therefore, I simply asked, what I could do right now to ensure it happened and came to fruition. Mine was to call AAA to get gas so that I could make it to my callback. It was an answer that required a little creativity, but that is part of what it takes to win and create your own game of creating the character detailed in your mission and vision. So when things get tough and your faith is tested, rely on your mission and vision as a guide. Look back over it and ask yourself if there are simple, clear, distinct, detailed, and realistic tangible steps that you can take right now to ensure this step of your mission/vision come to fruition? Just be prepared for what the answer may ask of you.

THREE - ARE YOU MAKING SACRIFICES WHEN NECESSARY? You may have created a very clear and precise mission and vision, you may have strong faith in it, and you might even have been able to figure out what to do right now as a next step. But what happens when that next step requires you to make a sacrifice?  My thoughts on this are pretty simple. Ask if the sacrifice is necessary, and if so…then make it! I had to ask myself this when I was first asked to attend the callback for the national commercial. I had been supporting myself with extra work, and was being asked if I could work the day of the callback. Although I was in a particularly precarious situation financially, I knew I had some options. First, I could opt to not attend the audition, and instead make money, which I needed. If I did, then I was missing out on an opportunity to begin working my way up the corporate ladder of success in the industry, which would ensure I stayed in ‘the mailroom’ level of the corporate pyramid even longer. The second was to to do more extra work on the day of the callback audition. Instead, I skipped a days pay and attended the callback. I knew that attending a callback of this magnitude would put me into a very strong chance of booking the job. I realized that skipping a day’s pay was a necessary sacrifice toward moving up the ladder of success. So that is my third question when faced with a potential sacrifice: Is this a tangible and necessary sacrifice? But a new problem, may come into your path after you’ve made some sacrifices. It is when the sacrifice presented seems too much to handle.

FOUR - ARE YOU COMFORTABLE BEING UNCOMFORTABLE? Sacrifices like deciding to attend a callback audition to book a national commercial instead of working for a day, were the kind of sacrifices which I had grown accustomed to making.  Mostly because the same scenario would return to me regularly for the last ten years in San Francisco. I was comfortable being uncomfortable, but only in a certain arena, and that was with scheduling and day to day matters. I hadn’t experienced it on a larger scale in a long time. I had known for a while that a bigger sacrifice was looming over my head, but it wasn’t until the events of “What Would Wonder Woman Do about Depression: Part Two” that I was forced to make it. What i discovered is that the idea of making sacrifices and potentially being perpetually uncomfortable was something that affected all areas of life when accepting the position of performer as an independent contractor. We must truly learn to be comfortable being uncomfortable. This can be one of the most difficult steps in climbing the corporate ladder, but once it is gotten, it can be a gateway toward the final step toward reaching new levels in one’s journey as a performer. So ask yourself about most things in your life and career: Am I comfortable being uncomfortable? Some people come to answer this quickly, and some do so at a slower pace. But it’s those who are able to get to this place quickly that are often the ones asking this fifth and final question.

FIVE - ALWAYS ASK ‘WHAT’S NEXT?’ Unless you come upon a ‘Flo’ Progressive Insurance deal where one or two days of work can potentially pay your entire year’s salary, then you’re probably like every other performer who are in a perpetual state of looking for the next job. If you are a performer who is making a living at your art, then one day of work could probably pay for a month’s salary. Therefore, the career artist will constantly be asking his/her self ‘what’s next?’. The very next day that I wrapped on filming my national commercial for this year, I wondered “What’s Next?”, because I knew this job: wouldn’t pay for a full year’s salary, wasn’t going to pay forever, wasn’t going to last forever, nor was it going to be career longevity. So once I was out of the moment of working that job, I was immediately ambitious and hungry for the next one. Therefore, this question was a great guide on my journey.

I noticed that there was an secondary benefit to having this question as a helpful career guide: I wasn’t sweating the small stuff. You see, after the national commercial, I also continued to do extra work, so that in between residual checks I was keeping enough money flowing and continuing to pay bills in a timely manner (Mostly lol). When I arrived on a set for extra work, I was always completely prepared and attentive to getting the job done as efficiently and effectively as possible, due to my mind being on my big personal goals. Extra work was a supplement so that I could get the work for my main job done. I was literally not sweating the small stuff on the set of my extra work jobs because I was so focused on getting things done for my main job, which was principal/lead work. I did continue to do more principal work in other arenas, because I was seeking them out and asking what’s next continued to be my guide. At one point this year, I was in the holding of an extra work job, memorizing a SIX PAGE script (of nothing but me talking to camera - with no teleprompter, mind you) for an industrial commercial I was shooting for a major fortune 500 company a few days later. I was not sweating the small stuff, and physically working on what was next! Keep in mind that I never advocate laxing on your duties at one job for another, but since extra work didn’t require anything but being there, and often times sitting for hours in holding, I knew there would be a lot of down time for me to read or study. So I made the best use of time possible which helped me to stay productive, active, and avoid being physically or mentally sluggish. I was staying mentally, emotionally, and even physically healthy by utilizing “What’s Next?” as a guide. This is usually a pretty good litmus test for those making a living at their art and those who don’t.

WHEN YOU’RE REACHING AND LEAPING, DO IT WITH WONDER The last two years, I have learned a lot about myself, my career, and the world around me. Mostly of my take away has been how it all fits and works together. It’s why I have endeavored to finish writing a book which takes my own personal experiences and use them to craft an autobiographical narrative which helps encourage and elucidate young artists in their journey. The previous entry was an sample portion of a chapter in the book that I am crafting. My hope is that the book will create a powerful three pronged spotlight. One which illuminates: 1) the corporate structure of performers’ careers, 2) The powerful triumvirate needed to create a competitive artist, and 3) an the glue on how it all works together in an empowering, inspiring narrative to help support the next generation of performers toward being the best they can be!

This previous chapter talked about moving to the next level of one’s career. For me, I found five commonalities with those working in careers where there are continual new levels to explore. Those five commonalities began with creating a fully crafted vision, and having faith in it. Then, (#2) taking tangible next steps in the now, which are sometimes (#3) sacrifices. All while (#4) getting comfortable being uncomfortable in many of those sacrifices, and after each goal has been achieved asking (#5) ‘What’s Next?’. They are five commonalities of those on the path of success and five ways/questions to ask yourself to see where you are in that journey. In my book, I’ll have additional writings to accompany this one which explain some of the previous work and personal theories which fuel each chapter, but for now I’ll just say that NONE of those five questions should be asked without a sense of wonder behind it. I believe it to be imperative that each step of one’s career (like everything in life) be approached with a sense of wonder. When you ‘wonder’ you are expressing a true love for something. and replace asking more questions in the spot where your assumptions arise, it will transform your life. It will cause you to seek opportunities at every level, and the questions it will get you asking will be in alignment to the five I previously mentioned, if not them exactly. So as you are reaching that next place in your journey and are taking a new big leap in your career, do it with a sense of wonder.

I hope you found value in this post.

Best,

If you’re just joining Spotlight, then I’d like to welcome you to my personal journal of my personal journey as a performer. It’s a kind of way for me to look back on all of my experiences, and lessons I’ve learned, while simultaneously sharing what I’ve learned with you. Disclaimer: The word PERSONAL was utilized twice in the first sentence. Therefore, this is not the gospel or the truth, it’s just me sharing MY experiences in an effort to assist (if possible), in other people’s discovery toward climbing the ladder toward their own version of artistic success (end disclaimer). Today, I’m going to continue my detour past part (Part 5) of my observation of the Industry’s Corporate Structure (AGAIN), to touch briefly upon a concept that I live by in “Brian’s B’s” (Being/Awareness, Business, Conduct/Behavior), of my A+B=C method. It is the concept and idea of how to make things practically tangible for others. When you make something tangible for someone, it becomes easily accessible to them. And if you can make it easily accessible in a brief way…even better! SIDE NOTE: If you are reading this blog for the first time, here’s a brief over view of my A+B=C method. A stands for the Abstract; It’s your dream and what you desire. C is the Completion or end result to the equation. It’s that Concrete product you have Concocted. However, B is the thing that doesn’t get much attention, and it is the most vital portion of the equation; It is your Being, your Behavior, and your Business. All the things that YOU actually DO to mix with the A and make the C happen! That is the basic overview of my system. Today, I’m going to focus briefly on a passion, yet fear of mine: Working in Television.

A week ago, I had brunch with a dear friend of mine who was a series regular on a major television show, and is currently a series regular on a new tv show. We shall call her ‘June’ for reference purposes. June and I were catching up and doing some ‘ki-ki-ing’, when just before ending our conversation, I took the liberty to ask her for her input on a concern I was having. My concern was working in television. I’ve done one character on television, but working in tv with regularity has always been a goal of mine. I see tv as a modern form of theatre. Although it isn’t a ‘live’ connection with an audience, there is a kind of life and connectivity that is brought to the table because it seems to unify people all over a country (and sometimes the planet). In addition, Stella Adler once said that Theatre is the ‘currency of society’. I view television to be similar. We process all kinds of societal, social, and political issues through tv in a parallel manner as theatre. But having worked in theatre, I have a conundrum bringing my theatre experience to tv, and it is this: 1) There’s a lot of typecasting and 2) There isn’t a lot of rehearsal or preparation time in tv. So, I asked her, “How do I navigate this?”. I wanted to bring character work to tv the same way many of my favorite actors (herself included) do, but I wasn’t sure how to do so. Here are four ways that we discussed which I found helpful for performers transitioning from Theatre to Television. Enjoy!

ONE - DO YOUR HOMEWORK

One of the first things upon which June touched was preparation time. There is not a lot of time to prepare when working in television. Sometimes things have an overnight turnaround (or less), but it is imperative that full discovery (or as much as possible) is done. I personally have come up with my own system and have a packet which I fill out, to help me create character. Since I am a primarily right brained learner (specifically visually and tactile), I rely heavily on pictures and practice.

My personal system is thee pronged: 1.Memorize, 2.Manual Labor, and 3.Metabolize. I memorize the script so that I am not tripping up on the words. Next, I complete all of what I consider to be the ‘Manual Labor’ of research, character study, project history, physicality, connection with others, etc., etc. Last but not least, is the Metabolize portion. It is where I put the previous two sections into action. I have metabolized it, so that I can breath life into it and (hopefully) make it into something inspiring. This is where most of the stuff you see and like are completed. As you can see, being a visual/tactile learner, I actually use both of those in my process and it very much reflects the concept behind fight choreography or dance. I set it all to motion, and then once the template is complete, I can pull all the emotion out of it, and polish the performance.

As we discussed this, June mentioned how important it is that research is done, and how she has come to set many times where people haven’t completed their research and she found it to be very confounding. “How can you come to set not knowing the background of the characters or even the project?” June asked rhetorically. “If I can give you any advice, it’s that you always do your homework!” We shared some really funny stories about this. I began to tell her about a friend of mine who does a lot of co-star work, but hasn’t yet been able to be considered for guest star work. It was at that time June asked me, “Does your friend properly prepare?” I was shocked because that was exactly the story to which I was going to begin sharing about another friend named (or is named that for the purposes of this story) ‘Janet’. Janet had relayed a story to me about working on a film where she went to a table read and another actor had so many questions about the background of the story, character, and mission of the story they were telling (reading), and Janet hadn’t even completed a thorough first read of the project. “This could be part of what holds your friend Janet back.” June paused for a moment and after a kind of ‘hmmm’ look on her face she said, ”Does Janet have a theatre background?”

“No.” I replied.

“Ah. I see.”

Research, character development, and discovery are very big parts of preparation for a role, and they are also things which are the core teachings in Acting for theatre. Although doing your homework isn’t the gatekeeper for a successful career, it’s one thing that we can all do to ensure a successful transition to any genre of the industry including transitioning into doing more TV work!

TWO - REHEARSE

In the previous section June mentioned how doing ones homework can make a successful transition into working into television, and how it was something that was emphasized in theatre. There was also a second theatre habit upon which she touched, and suggested would aid me in making a successful transition to working in television, and that was the idea of rehearsal. “I don’t know about you but when I was shooting (Successful Show), for some reason we received the scripts early and had an opportunity to rehearse often”. June mentioned that since her partner for most of the scenes was also a theatre veteran out of the U.K., he also enjoyed the opportunity to rehearse. What came out of it was an ability for them to do a lot of homework and discovery prior to setting foot on set. So much so that when finally able to interact with the set, costumes, and direction they would come up with new things to enhance the performance/show even more. June suggested that getting in rehearsal can make for a fantastic performance, and most of all since I had a theatre background which was heavy in the rehearsal process, she had full confidence that I would be able to transition well into working into television; Regardless of the time constraints given to me. Basically, leaning into making rehearsal a priority alongside ‘homework’ would make this transition into working in television so much easier.

THREE - MAKE EFFECTIVE REQUESTS FOR THOSE THINGS YOU NEED

June gave me a third example of something to do, in order to make an easy transition to working in television. She mentioned that she received what she thought was one of the highest compliments from a fellow actor while filming a guest star spot in an episode of a very big TV show (which I have seen). At the end of the day, the lead approached June and said “I really learned a lot from you”.

“Oh?” June asked.

“Yes, because you asked the A.D. to check in with you to see if you were ready. I thought it was a brilliant way to ensure emotionally preparation to deliver scenes, and each take was usable regardless of tech!”

June mentioned how gracious she felt for the compliment, but also mentioned how this will save everyone time and give them the opportunity to get the shots they need without having to go back. I immediately connected with her on this. I had done this before on the set of both commercials and my current tv show, but had a lot of reservations about applying this to the big budget tv scene. But now I know that doing something like this would also be a good practice in being a smooth team contributor. Basically, requesting things like this, or even specific rehearsals with a fellow actor are nothing but great practices for success and help facilitate a smooth transition into working in the television world.

FOUR - THINK LIKE A CHESS PLAYER AND CONTROL THE NARRATIVE

One of my biggest concerns working in tv is getting typecast, and not being able to do what I call ‘my thang’ via character work. One of the reasons I love performing as an actor so much is because I actually get to put on a brand new skin for a while. Often times one that I’ve created myself. I want to have the opportunity to play a really wide variety of characters. It is why I love this craft so much. However, since TV is so quick, they usually do a lot of typecasting and look for individuals who can play by type or do what I call ‘personality acting’. I define that as basically acting like yourself onscreen in a given circumstance. But that’s not my bag, and I mentioned to my friend June that I have a practice of after I’ve finish playing a role, only accepting the next filmic or episodic role with an opposite character. I mentioned that this is something I learned from watching and studying Gina Davis in acting classes back in the early 90s. June was a little shocked because she said, “I was just going to mention Gina Davis”. June told me that Ms. Davis had done something really fascinating. After completing the filming for a role where she was a very plain character, she did ALL of her press for the project in complete glam. For audiences, this created a complete bifurcation between character and actor. In addition, it displayed a total opposite side of her which made her viable and considerable for other roles. June mentioned that thinking like Gina Davis did in this situation, which was strategic the way that a chess player thinks. Chess players have a goal which is to to hit the target of getting the other side. So, while we may not know our exact path for success, we can be smart about it by thinking a few moves ahead. We can do things to open people’s minds to the possibility of playing a very different role in the future. Telegraph something which will help towards that next move. Basically controlling the narrative. This was a great suggestion for how I could aid in avoiding typecasting, and open opportunities for doing more character work, and by default, more overall work in television.

WRAP UP

In conclusion, Oprah Winfrey once quoted that the definition of luck is ‘opportunity meets preparation’. By doing everything in our power to ensure powerful preparation we can take some incredible opportunities, Including working in television, and regardless of acting style. Our jobs are to properly represent the truth of character so that it can be connectable and relatable to our audience. We can not do this if we are not prepared. If you are a theatre actor transitioning to on camera, then you must find new ways to prepare in a faster and more efficient way. Doing your homework, Rehearsing, Making effective requests for things needed, and controlling your narrative, you can be successful at transitioning to tv. All you have to do is find ways in which those things can work for you. Take some time and think about each of these items. How much time do you usually need to research all the topics? How much time do you need for rehearsal? What kind of things do you need from people to make your experience successful? How can you control your narrative? You may not be able to control the actions of others, but you can definitely controls yourself. This is the focus of almost every article I write is personal responsibility and personal action. By honing in on those things and really thinking strategically, you can not only become more aware, but you can control the trajectory of your experience and career. Including a healthy transition from working in theatre to also working in television.

I hope you found value and inspiration in this post.

Best,

Brian J. Patterson

If you’re just joining Spotlight, then I’d like to welcome you to my personal journal of my personal journey as a performer. It’s a kind of way for me to look back on all of my experiences, and lessons I’ve learned, while simultaneously sharing what I’ve learned with you. Disclaimer: The word PERSONAL was utilized twice in the first sentence. Therefore, this is not the gospel or the truth, it’s just me sharing MY experiences in an effort to assist, if possible, in other people’s discovery toward climbing the ladder toward their own version of artistic success (end disclaimer). Today, I’m going to continue my detour past part (Part 5) of my observation of the Industry’s Corporate Structure (AGAIN), to touch briefly upon a concept that I live by in “Brian’s B’s” (Being, Behavior, and Business), of my A+B=C method. It is the concept and idea of how to make things practically tangible for others. When you make something tangible for someone, it becomes easily accessible to them. And if you can make it easily accessible in a brief way…even better! SIDE NOTE: If you are reading this blog for the first time, here’s a brief over view of my A+B=C method. A stands for the Abstract; It’s your dream and what you desire. C is the Completion or end result to the equation. It’s that Concrete product you have Concocted. However, B is the thing that doesn’t get much attention, and it is the most vital portion of the equation; It is your Being, your Behavior, and your Business. I call these things “Brian’s Bs”. They are all the things that YOU actually DO to mix with the A and make the C happen! And that is the basic overview of my system. Today, I’m going to focus briefly on Behavior. Webster’s Dictionary defines ‘behavior’ as “the manner of conducting oneself” or “the way in which something functions or operates”. For me, these are things you do in habit to conduct yourself. If we think of a conductor as a leader, you must lead or support yourself the way that a conductor does, and a conductor does so in an objective and supportive manner for the betterment of the whole. This is the way that I perceive behavior. Therefore, each of the behaviors that you will read about in my blog (and coming book) will be a habitualized ‘best practice’ to conduct ones self in an objective and supportive manner for the betterment of the whole. One of those ways, about which I’ll be speaking today, is health.

People ask me all the time how I stay looking so young, keep so active/youthful, and maintain an overall positive mental attitude. Especially since they know that for the past decade I’ve made 90% of my living from being an artist. The answer falls right into the application of my A+B=C method of all things in life. For me, it’s just basic common sense My body is my Stradivarius. It is the refined, delicate, and expensive instrument through which I can create. Therefore: A) What I put in my body PLUS B) what I do, EQUALS C) the results. So if I’m consuming good things AND utilizing it well by getting proper rest/rejuvenation/exercise, then I’m sure to produce some great results. Wonder Woman’s early adventures often mentioned many times how important it was to eat healthy and treat your body with respect. Since most bodybuilders say that 70% of our workout is done in the kitchen, I’ve decided to focus on exactly that, by sharing with you my way of eating healthy on an artist’s budget. Why do I say ’On An Artists’ Budget’? Well, as artists we are essentially independent contractors. We don’t have steady work, and generally don’t know when our next job is, or when we will ever work again. It’s often been said that artists don’t ‘know from where their next meal is coming’. Therefore, budget is a huge concern.  Again, after an entire decade of making close to 90% of my annual income as an artist, I’ve found some really great ways to make this work, be healthy, AND progress in my career. So today, in my first of many “On An Artists’ Budget” segments, I concentrate on the topic of Groceries and Eating. I will cover other things later, but for now, here are my 10 favorite avenues to meal prepping and creating a healthy meal plan on an artists budget. Enjoy!  

ONE - 30/30/40 The core of a bodybuilders’ meal planning is called 30/30/40 (30% Carbs, 30% Vegetables, and 40% Protein), and I highly recommend using this as a template for your three main meals. I use this rule as a rough template, because it ensures that our bodies is getting the majority of core macros it needs to operate in a healthy and effective manner. As you become more comfortable with this rule, you can begin to: measure or weigh your food, and/or utilize a macros calculator so that you can become even more precise with the results that your body produces. Macros calculators can be found online by doing a google search. In the meantime, you can eyeball this for your 3 main meals. Everybody’s body and goals are different, so if you decide to follow this, you may want to adjust for your own needs.

TWO - SNACKS The first time I started meal prepping, I left out snacks. Little did I know that they are very very important. If you do research on meal prepping, you’ll notice that more often than not, it is recommended to have three snacks in addition to three meals per day. This would mean eating once every two to three hours, and the reasoning behind this is that having a steady flow of reasonable portions of food throughout the day raises your metabolism. Hence, assisting you in weight loss and the maintenance of a healthy weight for your body type. You can adjust your snacks to be a protein shake, fruit, almonds/nuts, or even servings of vegetables if you need more minerals in your diet. My motto is to tweak these things to meet your personal needs. Everyone’s body and goals are different. It is my job to love and care for mine the best way possible. We only get one (that we know of). So I always recommend adjusting for maximum benefits and results.

THREE - BREAKFAST Breakfast is a meal which I can cheat ever so slightly since it is the first meal of the day and we have more time, I know that I’ll most likely burn things off throughout the day. I generally don’t do it (nor recommend it), but it is an individual decision. Since breakfast is the most important and essential meal of the day I always try to get all the things I need to get started, I try to eat hearty and well. Eggs, steel cut oatmeal, fruit, low fat greek yogurt, and/or any good balance of protein, fruit, grains, and vegetables can do a body well. I usually begin with some scrambled eggs and turkey bacon. If I have a really long day, then I add a little low fat greek yogurt (sometimes with blueberries for their antioxidants). Depending on if I remember or not, this is also where I consume my multi vitamin. If I forget, I take it at night, as that is when the body does the most repair work. Daily, a good multivitamin and fish oil pill (with one vitamin c pill, 1x a week) is my routine. Vitamin C is a natural booster for mood and immune system. If I miss once a week, then I will make sure to try and get at least one pill in every two weeks. If you have a great immune system or an easily maintainable mood you may not need one. Again, if you decide to follow this, you can adjust for your body and your needs. Everyone is different.

FOUR - PROTEIN SHAKES & PROTEIN BARS The general formula for maintaining muscle is to consume 1 gram of protein for every pound. So, if someone weighs 100lbs, they’ll want to consume 100g of protein. This is where the ’40%’ part of my three meals comes into play. I more than likely get most of my protein there, and can make some adjustments in snacks to balance. To gain weight, I’ll want to consume more than 1g per pound. Many bodybuilders recommend starting with 1.5 grams for every pound. So, if someone weighs 100lbs., then they’ll want to consume 150g of protein, and can do this by adding a protein shake (or protein bars) to their daily diet. Again, everyones bodies and goals are different, so if you decide to try this out, you’ll want to adjust and personalize for your own goals.

FIVE - JUICES In addition to protein shakes, I also like to have some sort of juice every once in a while. I like to add about three juice drinks a week. My favorite has come to be the green juice smoothie. Specifically, because I personally tend not to consume enough vegetables. Therefore having a green juice smoothie every once in a while helps me to keep up with my mineral intake. Again, you can omit juices, or even create whatever kind of juice you like to in order to support your nutritional goals. Everyone’s body is different, and everyone had different needs and goals. Here is the recipe for the Green Juice I follow, should you care to give it a try:

Green Juice Recipe Materials: 8 Lemons 2 green apples 2 stalk bunches of celery Bag of kale Bag of spinach 1 large coconut water

•Squeeze juice of 2 lemons into cup or mason jar •Chop 1/2 green apple and add to lemon juice •Clean and chop 5-7 stalks of celery to fill a different cup or mason jar •add 1/2 cup of coconut water •2 hand fulls of spinach •2 hand fulls of kale •1/2 cup filtered water Blend to liquefy Note: if using a blender start with kale and spinach then celery then apples. If using NutriBullet or the like start with apples then celery then kale and spinach.

SIX - WATER Our bodies are approximately 60% water. This must be maintained somehow. So I have always made an attempt to habitualize water consumption. Most health authorities recommend using the 8x8 rule, which states that you should consume 8, eight ounce glasses of water per day. I’ve gotten into the habit of drinking a glass of water with each meal. Hence, I end up consuming around six glasses of water per day. Added to the water that I consume while at the gym, I usually make my 8 glasses a day. I also like to take a BPA (Bisphenol A) free bottle with me everywhere I go so that I can get into the habit of filling it up with water and drinking it with regularity. This is also extra insurance that I am consuming enough water per day. For me, consuming water is one of my most valuable and powerful weapons agains combating dry skin, sickness, and the signs of aging. Results for me have been a clean, flush system system that is moist, lubricated, and works well. Again, every body is different and has different needs, just like everyone has different goals. So increase or decrease your water intake appropriately.

SEVEN - OVERALL PLAN My overall meal plan consists of 6 meals per day. 3 of those are full 3 course meals with a glass of water, and 3 of those are snacks. Once I have cooked my 30/30/40 items, I then sit out 12 containers and portion out everything into those 12 containers. Hence, I end up creating lunch and dinner for 6 days. Once this has been properly portioned out, I put lids on everything and stack them in my refrigerator. Next comes the snacks. I usually have sandwich bags or smaller containers for my snacks. Once those have been portioned out for six days (12 bags), I sit them beside their corresponding meals. Last, if necessary, I create some juices or shakes for each day and also sit those beside the corresponding meals for a day. At the end of this, I have a full week’s worth of meals that I can grab each day as I go. You can set up your meal prep in a way that works best for you. Here is a short 9 minute YouTube VIDEO that I created, which gives the general overview of my meal prep process.  

EIGHT - SUPPLEMENTS Supplements are very very individual thing and I always recommend doing a lot of research before diving into this. Hence, why this portion is going to be very short. You don’t want to throw off your body or any of it’s systems. I personally have resorted to using as few supplements possible. My favorite is BCAAs or Branch Chain Amino Acids. They are key in muscle building and help the process along great. You may want to increase your supplement intake, or just not use them all together. Again, every body is different and everyone’s goals are different.  

NINE - BUDGET/MAKING IT LAST I mentioned before that budget is always a concern for artists. You’ll notice that before juices or supplements my budget for groceries is around $35 per week. Here is the breakdown: Chicken - $14.00 (You can get them for around $7 each at Von’s or Safeway) Quinoa - $5.00 (Von’s, Trader Joes, or Safeway) Vegetables - $6.00 (Von’s, Trader Joes, or Safeway) Chicken Broth - $2.00 (Von’s, Trader Joes, Walgreens, or Safeway) Snacks - $7.00 (Depends what you make. If you want to get the Nuts an More, go to any fitness/health store like GNC) TOTAL = $34.00 per week

I tend to carry a ‘snack bag’ around with me, which I fill up with any free healthy snacks or samples that I find. If you do this around once a month, this will ensure that you don’t have to buy your own snacks and can sometimes save a weeks worth of snacks budget. In addition, many of us reading this are in the performing arts. Therefore, we are often at places where meals are provided. If you choose what you eat carefully while on a set, you can many times skip an entire week of meal prepping and can save an entire week’s meal prep budget. If so, this means that your monthly meal budget comes to only just over $100 per month. Imagine eating meals instead of eating out for a month. Most people spend close to $100 per week eating out. This includes coffee, snacks, meals, etc. That’s 4 times what you would spend if you were following a meal prep plan. Imagine what you could do with that kind of money freed up, OR imagine how well you’d do if you didn’t have work for a while. Meal prepping, grabbing free snacks, and eating on set…THAT is how I help to make it last!

TEN - FOLLOW THROUGH Many psychologists say that it takes approximately 21 days to form a habit for small things and some activities much longer. I usually shoot for about 30 days. Therefore, if I meal prep 1x a week for a month (30days), and get into the habit of eating my meals 6 days a week (I like to have one cheat day per week on Sundays) for a month, then I’m usually guaranteed to get into the habit of eating well and following through. The follow through with any behavior is one of the most essential parts. As a history of strong follow through will ensure long term results. I always recommend putting things on the calendar with details and with an accompanying reminder. It’s my personal practice. However, everybody (and body) is different and everyone has different goals. So, if you decide to do this, feel free to adjust for your own

CONCLUSION As artists, our work and livelihood are not guaranteed, and budget is always a concern for us. That often makes it difficult to have the energy to pursue the next endeavor in our passions. So learning to operate within the confines of a tight budget is essential, as is creating the sustenance to give us the energy to persevere. Wonder Woman’s early adventures pointed many times toward confidence and self love as the source of her power, and how you treat your body is an expression of love to yourself. Wonder Woman’s early adventures also pointed towards the importance of eating healthy as a way of self care. That being said, it is often repeated that we ‘are what we eat’ and that diet is 70% of our workouts/fitness. So the fuel we consume is an essential portion of this equation to providing that proper energy. It is why I have included meal prepping as one of the best practices in “Brian’s Bs”. But like any of my other best practices it is of the utmost importance that there is a clear understanding of self and of goals so that a realistic plan can be conceived. Be very clear about what your bodies needs are and what your goals are, and you will learn to adjust for optimum results. And if you plan on purchasing supplements, don’t forget to consult your doctor. Matter of fact, since every body is different, and every body had different issues, it may be a good idea to consult your doctor in general just to be certain that this kind of plan would be for you. Either way, I’m sure you can see how following 30/30/40, snacks, shakes, juices, water consumption, and meal prepping/eating healthy as a general practice can improve your mental, emotional, and physical state to give you the energy to accomplish your artistic endeavors. Hereby giving you a stepping stone toward creating the life that you love. That in itself is the best reward. Not to mention the I have been able to do it for years, and if I can, then you DEFINITELY can!

I hope you found value in this post and value in the accompanying video.

Best,

If you’re just joining Spotlight, then this is my personal journal of my personal journey as a performer. It’s a kind of way for me to look back on all of my experiences, and lessons I’ve learned, while simultaneously sharing what I’ve learned with you. Disclaimer: The word PERSONAL was utilized twice in the first sentence. Therefore, this is not the gospel or the truth, it’s just me sharing MY experiences in an effort to assist, if possible, in other people’s discovery (end disclaimer). Today, I’m going to skip over the last part (Part 5) of my observation of the Industry’s Corporate Structure (AGAIN), to briefly touch (AGAIN) on the ‘BEING’ in “Brian’s B’s” (Being, Behavior, and Business), of my A+B=C method. If you are reading this blog for the first time, here’s a brief over view of my A+B=C method. A stands for the Abstract; It’s your dream and what you desire. C is the Completion or end result to the equation. It’s that Concrete product you have Concocted. However, B is the thing that doesn’t get much attention, and it is the most vital portion of the equation; It is your Being, your Behavior, and your Business. All the things that YOU actually DO to mix with the A and make the C happen! That is the basic overview of my system. Today, I’m going to focus a second week on Being and let you see how who you are at the core determines what you produce.

I personally believe that the Law Of Attraction is much more powerful than people may know. I believe it to be a universal law like the law of gravity, and the more you learn how to use it and the more you practice using it, the better you’ll get. The Secret speaks notes it’s simple mantra of how the Law Of Attraction works and it is: “Thoughts become things”,  Today, I would take that one step further and say that actions also become outcomes. In Christianity, Jesus eluded to the Law Of Attraction in Matthew 26:52 when he said to Peter, “Put your sword back into it’s place, for all who live by the sword will perish by the sword”. This is most likely where the saying “Live by the sword, die by the sword” originated. It’s a saying (combined with the Law Of Attraction) that makes me continually question what my intentions are as I enter any situation.

In the acting and/or performance world, I think it is important to always be vigilant about this as well. Who we are will determine what we produce in any situation. I’ve been on set with leaders who are angry, yelling, and disgruntled; What ended up happening was that many others on the set were angry, may have yelled, and also became disgruntled. On the other hand, when I’ve been on set with leaders who are inviting, open, and gracious, I’ve noticed that most everyone on the set is inviting, open and gracious. Feelings and behaviors are contagious. They spread like a virus. So, we must always be careful to monitor what kind of things we are spreading. Here are three Law Of Attraction ideas to keep in mind as you embark upon your acting/performing career.

THOUGHTS BECOME THINGS

The Secret totes that ‘thoughts become things’. How you feel determines what you do. William Moulton Marston must have been very clear on the law of attraction, because in one of the very first adventures of Wonder Woman, she reveals the secret to her strength, by saying to a crowd of people in a theatre: “I’m often asked the secret of Amazon strength. It’s this - the human brain contains enough energy to blow up mountains. Amazon girls are trained to direct their brain power into their muscles”. Dr. Marston understood that mastering the mind would be how we produce strength and power. So what was true power to him? Love and Wisdom. Wonder Woman worshiped and put love and wisdom first. Funny enough, the law of attraction centers around love. The Secret mentions that things like gratitude, forgiveness, and being giving, will ensure prosperity and blessings. So if you want to prosper, if you want to achieve, or if you want to be blessed in your field, I highly suggest you follow the secret’s advice and monitor your thoughts and feelings. Find ways to cultivate positive thoughts and emotions. Find sources of inspiration to keep you in a positive state of mind because your thoughts and feelings are what will create the mindset of the person you want to be. Who you are and what you feel like will also determine the actions you take in your journey.  

ACTIONS BECOME OUTCOMES

One of the very first actions we often take as performers, is picking a mentor, guide, or person up to whom we look, or find aspirational and inspiring. The person that you idolize will behave a certain kind of way. Like children, we often mimic behaviors unintentionally and subconsciously. Therefore, If you idolize a mean person they more than likely behave meanly, and you will mimic that behavior. But if you idolize a nice person, then you will more than likely mimic their behavior and behave nicely. With this in mind, I think it is very important to choose the people up to whom we look, very carefully. This is why it is so important to be careful who you idolize. More than likely you’ll mimic their values and their actions. I personally found great inspiration for my life in the pages of Wonder Woman. Her example of balance, grace, strength, and leading with love is an example from which I believe we can all learn. She is spiritual, humble, and is led by love and wisdom. Yet, when the going gets tough, I’d rather have her on my side over Superman or Batman. I have found that the actors with whom I associate, and up to whom I look, also seem to possess and exhibit similar qualities with their actions. Action is the primary focus of Brian’s Bs. This system centers around the importance of taking proper action and following through. However, action is nothing without intention. As actors, we know that if we are given direction to walk and we walk without intention, it doesn’t communicate anything to our audience. Thereby making us ineffective in our jobs. We may be doing what we are told, but we aren’t telling the story. This rule is the same in life. The intention of our life will inform our actions and subsequently inform those around us. Our actions truly become the outcomes.

DISCIPLINE YOURSELF

Everyone wants to be successful. But it is those people with the discipline to be successful that make it truly happen. That is why it is so important to cultivate a system for monitoring and energizing your thoughts, feelings, and actions. Discipline is the key in most areas of success, but ESPECIALLY this one. I always recommend setting aside time on your calendar specifically for just this. Give an hour each day to meditate, watch videos, and talk to trusted advisors about how your feeling and how to stay on track. Some people who talk about their daily routines often are: Oprah Winfrey,  Steve Jobs, Barack Obama, Michael Phelps, Anna Wintor, and Arnold Schwarzenegger. Many of them use the imagery of being an athlete to give people an idea of what their daily routines mean. Actors, artists and performers must be the same. We are athletes in our own right, and we must train, work hard, and be vigilant in order to achieve. Since our industry is one that is completely unstable, we must be adamant about cultivating a system to consistently monitor and assist ourselves in creating thoughts, feelings, and emotions that are positive. So find what manages your thoughts and feelings and put it on your daily calendar TODAY! After implementing even a few weeks of discipline, you’ll begin to notice results.

CONCLUSION

Who you are inside, how you feel, and what you think will manifest itself in reality. Last week I told a story of a woman who asked me for career advice. When I attempted to look online for work done by her (both on stage and on screen), I was unable to find any. Then when I did find some, it was severely lacking. After making these observations, I went in to offer her career advice and she brushed me off. She was completely un-coachable. Her thoughts were becoming things and her actions were becoming outcomes. It was clear that there was a lack of positivity in her thoughts and feelings, which led to her outcomes; Nothing powerful to show. If she would have cultivated more positive feelings she would have been coachable. And being coachable would have led her to taking more positive actions. The Law Of Attraction requires specificity, because you get EXACTLY what you request. So, In future posts explaining Brian’s Bs, I am going to show you very specific ways to produce results. But first, we must concentrate on the mastery of maintaining consistent thoughts and feelings.

You’ll be tested constantly on your ability to stabilize your thoughts and feelings, as we work in a business that is cycling daily. Today we can be employed and tomorrow we are back on the audition trail. I was tested over the last two years in this arena. I had a difficult time securing work and it was all because my attitude and outlook had changed. However, the minute I began to monitor and change my thoughts and feelings, was the time that everything changed. So, as you can see by my two personal examples, it’s important to cultivate your own meticulous system for managing your thoughts, feelings, and actions. Most importantly, you must be disciplined about it. Just remember that any system which is based in love and wisdom, and also promotes gratitude, forgiveness, generosity, will almost always end in prosperity and true power. If you have any doubt, just ask Tom Hanks what he thinks! lol :)

With Gratitude, 

If you’re just joining Spotlight, then this is my personal journal of my personal journey as a performer. It’s a kind of way for me to look back on all of my experiences, and lessons I’ve learned, while simultaneously sharing what I’ve learned with you. Disclaimer: The word PERSONAL was utilized twice in the first sentence. Therefore, this is not the gospel or the truth, it’s just me sharing MY experiences in an effort to assist, if possible, in other people’s discovery (end disclaimer). Today, I’m going to skip over the last part (Part 5) of my observation of the Industry’s Corporate Structure, to briefly touch on the ‘BEING’ in “Brian’s B’s” (Being, Behavior, and Business), of my A+B=C method. If you are reading this blog for the first time, here’s a brief over view of my A+B=C method. A stands for the Abstract; It’s your dream and what you desire. C is the Completion or end result to the equation. It’s what you have Concocted. However, B is the thing that doesn’t get much attention, and it is the most vital portion of the equation; It is your Being, your Behavior, and your Business. All the things that YOU actually DO to mix with the A and make the C happen! That is the basic overview of my system. Today, I’m going to focus on Being and I’m going to use a completely true story from November of 2017.

Back in November of 2017, I was living in San Francisco, and had been making my living as a performer in the city for almost then years. It was on November 13, 2017 at approximately 4:10pm that I received a Facebook message on my Fan Page. It was from an actor in the city who I had met once, but from whom I had never seen any work. Her message said this…

“Hi Brian, I've asked you a question before, and you were so generous in your response.  If you have time to answer this one, I would so appreciate it. I'm joining SAG, and have been told that Fi-Core would be better.  Although the folks at the SAG office disagree.  Do you have a personal experience with that?  A casting director I trust suggests Fi-Core, and SAG strongly suggests SAG, not Fi-Core.  I know it's probably a very personal choice, but I follow you and it seems to me like you make good choices about your career.  Do you have a recommendation?  Thank you Brian.”

After reading her message, I couldn’t have been more flattered. I had been on the receiving end of quite a few messages like this at the time, and it made me feel good that I could potentially contribute to people’s success and happiness. In this case, the actor was making a huge decision that could have multiple effects. Every actor’s journey is different and need to make decisions specifically catered toward their career. Unfortunately, I didn’t know very much about her career so I couldn’t make any quick suggestions. So I did what every good objective person does: RESEARCH! First, I looked at her Facebook. I didn’t see ANYTHING acting or performance related at all. Then I looked at youtube; I didn’t see any videos or reels. After that I looked her up on IMDb and the only thing listed were a few credits; a few from over twenty five years ago, and then two which spanned over the last three years. Keep in mind all of these were either stand-in, extra work, or a role with no character name. After that, I completed multiple google searches using different variations of her name, the city, and additional words like theatre, film, actor and actress. Guess what? Nothing. Not only was there little to no marketing on this person, but there was nothing attesting to her competence. In addition, she was asking me a question about her business. Rather than making assumptions, I wanted to gather as much information as possible on this person so that I could give her the best advice I could. Besides, there could be an entire theatrical life of which I’m not privy and about which I don’t know. So, I sent back a bunch of questions to get a bigger picture of here situation. Here is what I sent to her:

“First off, I want to acknowledge your commitment to your career and your interest in doing what is best by seeking out advice from what seem to be good sources for you. You're already on the right path as far as I'm concerned. Second, I would agree with you; It's a very personal choice and would require a lot of detailed information. For instance: Do you plan on staying in SF for a while or are you moving to a larger market like NYC, LA, Canada, or London? If so, do you feel like you're in a place where you have enough experience and credits to hold your own and play with the 'big dogs' (SAG) on equal footing? If so, on what kind of tangible data is this based? Third and last, have you created a clear, detailed, and meticulous plan for your career with a somewhat in depth understanding of the road ahead of you? I am someone who prefers to give advice and make decisions by having more global/big picture info filled with as much data as possible. Therefore, if you can answer those few questions, then I think I can give you advice which is best suited for your particular situation. Brian :) “

Here is the answer with which I was met:

“Thank you, Brian.  I know those answers for myself and think I will be joining SAG, not as Fi-Cor.  I'll be based in California, splitting time between sf and la.  My main quandary is that a casting director who I trust up in sf recommends fi- Cor over SAG, yet SAG gives the opposite recommendation.  I am joining, that's not in question.  Leaning towards sag.  I've had 13 years experience in live theater, commercial and film/tv.  No reason to wait any more.  I know why I'm an actor.  More now than ever before. Thank you again.”

A few minutes later, I got this:

“I’d really like to hear your take on Fi-Cor vs. SAG.  What I'm most concerned about us if I start as Fi-Cor, will I them be able to switch?  The SAG office makes it sound like a very iffy prospect.  I don't know anyone who's tried it.  Think I will just join SAG and if I want to switch later, try it then.”

Her prior messages let me know that she wasn’t coachable, and didn’t really want to hear what I had to say. Regardless of my success or the contribution that I believed I could make to her after having seen some of her tools. So, I ended the conversation as gracefully as I could and sent her this message:

“It sounds to me like you've made up your mind to join. Mucha Buena Suerte!”

As you can see, I didn’t offer any advice or suggestions. It would have been a waste of time and energy. This person was merely asking for permission. Something I also didn’t give, because I could already tell after looking over her tools that I would be COMPLETELY AGAINST joining SAG. As in my previous posts, being an actor is the equivalent of being an employee in the corporate world. The only difference is that you are an independent contractor. In order to be a successful independent contractor that can support his/her self, you have to have mastered many skills and tools in order to stay employed. Some of those would be: interpersonal relations/communications, clear and concise planning and organizing, marketing strategy, and a harnessing of personal talent. Prior to developing these skills, there is one thing that every person will need in order to develop any of those and that is AWARENESS of self.  

Actor and famous acting coach Stella Adler was adamant about her belief that Actors needed to conquer themselves before they conquered a character. I associate this with the ancient martial arts theory of ‘emptying your cup’ that Bruce Lee often taught. It is one of the most important parts of the equations of success. Not just in career, but in every area of life. It is why I believe that it’s the first place to begin when embarking upon a big journey like an acting career. Emptying your cup means getting very clear on who you are inside and out. It’s knowing yourself to a point where you are able to be COMPLETELY objective on every matter. This gives you the ability to step inside a character to the fullest, because you are able to set aside your own perception of reality and everything that could potentially stop you from putting yourself in the shoes of another. For me, I have Wonder Woman. To explain, Doctor William Moulton Marston III who created the character was a psychologist and was a study of the human condition. He imbued many of his characters and inventions with breadcrumb clues to these ideas. He even inspired a system for self awareness that I follow which has aided me tremendously over the last 16 years of my life. I encourage everyone to find their own system which offers them that kind of objective awareness. I write a column called “What Would Wonder Woman Do?”, and in March it was about the “Lack Of Truth in Society”. Truth is something that requires personal awareness. Without it, you can not be completely authentic. As you continue your search toward your own system, here are some ideas on how to begin developing personal awareness, which are derived from my article.

BE AWARE OF YOUR ABILITY TO BE COACHABLE When you aren’t coachable, you often miss out on important information. It could be information that could make 100% difference in your life and/or career. In the example of the actress who asked me for advice, I could see where she wanted to go and if you read some of the questions I asked her, I already had some really fantastic suggestions for her to be successful. Unfortunately, she wasn’t open to hearing them and was completely UN-coachable. Some of her language was a little defensive and put up a wall. This is what happens when you’re triggered, and being coachable means understanding those triggers that hold you back from being coachable. Examining what those triggers are, how they got there, and how to work around them will assist you in becoming coachable. In my article, you’ll see that the Ladder Of Inference explains how personal perception can influence present events.  

BE AWARE OF WHAT YOU DON’T KNOW When we think we know something and assume that we don’t need another perspective that might be different, that will often make us un-coachable. If we come from a place of ‘I already know’ then it immediately shuts off the ability to connect, and also the ability to learn. The opposite will open up the possibility of connection, affinity, and even learning new knowledge. In my situation, the actress that asked me for advice was completely and totally un-coachable even though she came to ME for advice. Being open to what she didn’t know would have given her the ability to gain new knowledge which could have aided her to a more bountiful and successful career. It is important to be able to know the difference between the former and the latter situation. I believe that is to be like Wonder Woman, which is to follow the way of love. When you are being loving you are continually choosing to understand and accept the world around you. I write about this in my article. For me, I like to think of a scientist. He (or she) knows that there are facts and laws in the universe, but they are always testing new things against them for new outcomes and new possibilities. That pure, loving, and inquisitive nature of being open and asking questions will almost always guarantee that you find out things that you didn’t know before. Be your own scientist and like the article says, “Lasso The Truth”!

BE AWARE OF YOUR LIMITATIONS We all have limitations, but very few people are truly aware of what actually creates their limitations. This often leads to people not knowing exactly what their limitations might be. In the case of the female actor who messaged me, she is setting out to work in a market of SAG/AFTRA professionals. This will limit her for many reasons. Without proving to have a strong work history, a strong body of work, a clear concise plan to success, an ability to book (aka adequate practice and developing a system for auditioning) and to do so on the SAG level, she is limiting herself. Specifically, since she is doing so in a primarily non-union market where the SAG work is very limited. In my ‘What Would Wonder Woman Do’ article, about the lack of Truth in Society, I reference a scene written by Phil Jimenez in Wonder Woman #170 where she reveals that she is forced to always be honest with herself due to her having the lasso on her hip. By finding our own ‘magic lasso’ or system to keep ourselves honest we can be more aware of our own limitations. Being honest about them can also lead to more connection and success.

If you’re just joining Spotlight, then this is my personal journal of my personal journey as a performer. It’s a way for me to look back on all of my experiences, and lessons learned, while simultaneously sharing what I’ve learned with you, and hopefully contribute to your learning experience as well. Disclaimer: The word PERSONAL was utilized twice in the first sentence. Therefore, this is not the gospel or the truth, it’s just me sharing MY experiences in an effort to assist, if possible, in other people’s discovery and journey (end disclaimer).

As I continue exploring my A+B=C method which focuses on what I’m calling “Brian’s B’s” (Being, Behavior, and Business), I will be concentrating on the word Business and offering up the approach that has worked best for me, and that’s to look at the business of the industry through slightly different eyes; The eyes of the corporate structure. Last week I talked about what I call Tier 2 aka the Entry Level. Well, today I will continue my observation of the industry’s adherence to the corporate structure with Tier Four aka Executive Management, Senior Administrators, and CEOs.

TIER #4 - Executive Management, Senior Administrators, and CEOs

Define: Wikipedia defines Executive Management as "generally a team of individuals at the highest level of management of an organization who have the day-to-day tasks of managing that organization — sometimes a company or a corporation."

In this tier, you've already a) built your tenacity and wherewithal in the mailroom (understood the hierarchy/company structure from doing extra work), b) have mastered entry level skills (done day player/co-star level work), c) have been trusted with greater responsibilities (bigger roles including guest star level roles), and are now ready to take the lead on your team.

Example: I know a few people at the Executive Management level, and while I've been in a position like that on stage or in films (as the lead actor), I have never been there on television. The lead role in a musical, opera, tv show, web series, film, or short film are all what I consider an Executive Management position. Keep in mind, you can be in this position like I have at a small theatre, or on Broadway. The only difference is the size of the company.

Corporate Comparison: At the corporate level, Executive Management is the highest level of management. These positions are literally the highest level of leader possible. I see this as the same way in entertainment. When you are the highest level of leader in your field, then you are in Executive Management. I associate this with the leads of a television show, play, or any other type of performance. You are the performer who is leading the show (or series), and setting the tone for your team of cast members.

Opportunities: (Tangible ways to make it to the next level) Breaking casting. Additionally, I would imagine that after you get to this level you have the opportunity to negotiate rates of pay in a stronger way.

Challenges: holding the line, not seeming too bourgeoise or conceited, and finding the fine line between the two.

That about covers my general overview of the 4th of what I see to be a Five Tiered Corporate Structure in the entertainment business. Next week I’ll take a look at Tier #5 which I call “Retirement”. At the end of the five analyses, I’ll create a diagram which examines this structure, and also begin expanding upon those specific prerequisites you should look at when entering each tier.

Looking forward to next week!

If you’re just joining Spotlight, then this is my personal journal of my personal journey as a performer. It’s a way for me to look back on all of my experiences, and lessons learned, while simultaneously sharing what I’ve learned with you, and hopefully contribute to your learning experience as well. Disclaimer: The word PERSONAL was utilized twice in the first sentence. Therefore, this is not the gospel or the truth, it’s just me sharing MY experiences in an effort to assist, if possible, in other people’s discovery and journey (end disclaimer). 

As I continue exploring my A+B=C method which focuses on what I’m calling “Brian’s B’s” (Being, Behavior, and Business), I will be concentrating on the word Business and offering up the approach that has worked best for me, and that’s to look at the business of the industry through slightly different eyes; The eyes of the corporate structure. Last week I talked about what I call Tier 2 aka the Entry Level. Well, today I will continue my observation of the industry’s adherence to the corporate structure with Tier Three aka Middle Management. 

TIER #3 - Middle Management

Define: The third tier is what I like to call “Middle Management”. Wikipedia defines Middle Management as “the intermediate management of hierarchical organization that is subordinate to the executive management and responsible for at least two lower levels of junior staff”. In this tier you have built tenacity and wherewithal in the mailroom, and have mastered entry level skills to a point where you are trusted with more responsibilities. This is exactly how I see it in the entertainment industry as well. 

Example: I have many friends who are at the Middle Management level. They have cool roles that are relatable and help drive stories. Many of my friends have been on shows like Agents Of Shield, Supernatural, Vampire Diaries, and more. Their roles are always easily identifiable. 

Corporate Comparison: In the corporate world, these managerial positions oscillate between being a supervisor and a subordinate. Therefore, I see these as performers who are given more responsibility and must understand more of the big picture. They are in roles where they are above junior (or entry level) staff, but are still subordinates to directors, producers, and executives in control. Basically, they are in positions key to keeping projects going. I see these as Supporting roles, Guest Stars, Series Regulars, and even some faces of certain brands. To give an example, Guest actors and supporting characters like series regulars help to propel the narrative. They are responsible for interacting with those Co-Stars (entry level actors aka subordinates) in a way that makes things work. Guest Stars generally work a full week and and often get billing at the beginning of a show. As you can see, they also make a much more livable wage, but are also beholden to their senior staff which we will talk about next week. 

I also see this as supporting/guest roles on stage, 

Opportunities: Utilizing this platform to create something special and unique is one of the most incredible opportunities that I see present. This is generally the role that people want to land. Once you start landing these roles, you’ll be more recognizable to Casting Directors. Guest Star work can be a catapult into being a working television actor. You can really begin to take off, but like the previous tiers, it will most likely be because you have been a model employee, networked, mastered the entry level skills, produced the things being asked of you, and have brought a slight extra something to the table. 

Challenges: You’ll notice in the above definition of this position oscillates between being a supervisor and a subordinate. Therefore, this can be one of the most challenging places in which to be. Learning to walk that fine line of being a supervisor and a subordinate at the same time. Another challenge is having a desire to be more creative, but being inhibited to stay the course of Middle Management while occupying said position.  

That about covers my general overview of the 4th of what I see to be a Five Tiered Corporate Structure in the entertainment business. Next week I’ll take a look at Tier #4 which I call “Executive Management, Senior Administrators, and CEOs”. At the end of the five analyses, I’ll create a diagram which examines this structure, and also begin expanding upon those specific prerequisites you should look at when entering each tier. 

Looking forward to next week! 

If you’re just joining Spotlight, then this is my personal journal of my personal journey as a performer. It’s a way for me to look back on all of my experiences, and lessons learned, while simultaneously sharing what I’ve learned with you, and hopefully contribute to your learning experience as well. Disclaimer: The word PERSONAL was utilized twice in the first sentence. Therefore, this is not the gospel or the truth, it’s just me sharing MY experiences in an effort to assist, if possible, in other people’s discovery and journey (end disclaimer). 

As I continue exploring my A+B=C method which focuses on what I’m calling “Brian’s B’s” (Being, Behavior, and Business), I will be concentrating on the word Business and offering up the approach that has worked best for me, and that’s to look at the business of the industry through slightly different eyes; The eyes of the corporate structure. Last week I talked about what I call Tier 1 aka The Mailroom. Well, today I will continue my observation of the industry’s adherence to the corporate structure with Tier Two aka Entry Level Positions. 

TIER #2 - Entry Level 

Define: The second tier are made of what I like to call “Entry Level” positions. Like the corporate structure, these are the positions which require and utilize entry level skills; Those basic skills which are required to performing basic tasks to support in the company’s various teams, daily routines, management, and managers/decision makers.   

Example: I have a friend that works at this level often. She has had many roles which are either a few lines, or under five lines, on many well known television shows. The brilliant thing about her, is that she was able to expand past the mailroom (doing extra work) and move into the entry level; Primarily due to her her business acumen, strategic thinking, and ability to display basic entry level skills (acting).  

Corporate Comparison: In the corporate world, often refer to entry level positions as an entry point to a particular or chosen profession. They are often part time and are considered to be those positions in support of a team or leader who drives a particular team. Therefore, as an actor, I associate the Commercial, Co-Star, Dancer, Ensemble (Sometimes smaller multiple role ensemble parts), and ‘bit’ parts with this level. Mostly because these are all roles and types which require  basic skills, support the team or team leader (lead actor or performer) driving a project, and are part time in commitment level.  

Opportunities: 

There is an ABUNDANCE of opportunities at the Entry Level, but for brevity’s sake, I’m going to keep it down to three: 1) strengthening foundational skills, 2) develop a clear understanding of personal career path, and 3) an understanding of proper strategy needed for moving to the next tier (Middle Management). 

First, let’s talk about strengthening foundational skills. When you are at this level, you are actually on set and working in the position of your chosen profession. Being a performer/actor is where I am mostly focusing.  Since you are able to work independently n said position, you have the ability to finally work under the conditions of your chosen career. Therefore you understand who your team is, to whom you report, those who rely upon you, and most of all the skills you need in order to do a great job. There is often a misconception of the skills required, but when you are actually operating at this level, you can get clear on exactly what those skills actually are. A simple step to strengthen foundational skills might be to enroll in a basic class so that you can practice basic skills. One which places you in the context or confines of your chosen field is ideal. 

Second, developing a clear understanding of your personal career path is much easier to do once you are operating within the context of your chosen profession. You can clearly identify how others got their start, who are the decision makers, and places/people with whom you’d prefer to work. I’d recommend looking at other people you admire or are similar to you and mapping out their career path, and looking at how you can emulate them and follow their path. Once you have done that, you can identify who the decision makers are, who are currently hold positions to assist you in advancement, how they prefer to see you advance, and what steps you need to take in order to get their endorsement. A simple step for this as an actor would be to list other actors that are your type, the kind of roles in which you are cast, which casting directors are working on those shows, and ways to enlist their advice, direction, and ways/times to contact them (and following up on them of course). 

Third, and last, you can create an understanding of the strategy needed for moving to the next tier that I call Middle Management. Since the next level requires a deeper and more powerful mastery of skills. Since I focus mainly on acting/performing, I will expand upon that in particular. Working on the Entry Level requires an understanding of basic skills, and once you understand the basic skills, you have a peek at what is needed to advance and progress up the ladder in your own field. One thing that is missing in many performers is a deeper level. Many people who enter the field of ‘actor’ or performer are doing so as a novice or newcomer and don’t truly understand the skill set required for the position. In effect, many only have basic acting skills. This is particularly popular in the film and tv world where many don’t have theatre backgrounds. Since Theatre is the crux/birthplace of acting/performance, and provides many with a lot of the grueling hard work utilized in the development of acting/performance skills, a lack of theatre experience can be very problematic for the newcomers entering into the acting/performance world via film and tv. However, when entering into the Entry Level tier, a performer can begin to understand what those skills sets which are needed to become a dynamic and powerful performer. Examples include: technical delivery, accents, character acting and it’s dynamics, performing ‘live’ and staying in character when unable to have another take, and being able to diversify and play various types of character types. A simple strategy could be to look at those at the next level (Middle Management), Figure out the skills needed for those and then start working on developing them. They include: memorizing large amounts of text, being able to carry larger storylines, and having a complete mastery of the basic mailroom and entry level skills. In addition, figure out which casting directors might see you as a ‘middle management’ actor, and begin working on those next level skills. This is a simple and tangible strategy for moving to the next level. 

Challenges: This is where (I theorize) that the second largest group of people begin to drop off and discontinue their pursuit of performing. Like the corporate entry level, it is difficult to make a living because the work is beyond part time. It requires much more focus to break into the next level, and you must adhere to a higher standard of skill level and expertise as a daily practice. Change is difficult for everyone, and changing standards that require you to push harder daily…that can be overwhelming and effectually create a loss of interest. 

That about covers my general overview of the 2nd of what I see to be a Five Tiered Corporate Structure in the entertainment business. Next week I’ll take a look at Tier #3 which I call “Middle Management” positions. I’ll also begin expanding those prerequisites you should look at when entering that tier. 

Looking forward to next week! 

If you’re just joining Spotlight, then this is my personal journal of my personal journey as a performer. It’s a way for me to look back on all of my experiences, and lessons learned, while simultaneously sharing what I’ve learned with you, and hopefully contribute to your learning experience as well. Disclaimer: The word PERSONAL was utilized twice in the first sentence. Therefore, this is not the gospel or the truth, it’s just me sharing MY experiences in an effort to assist, if possible, in other people’s discovery and journey (end disclaimer).

As I continue exploring my A+B=C method which focuses on what I’m calling “Brian’s B’s” (Being, Behavior, and Business), I will be concentrating on the word Business and offering up the approach that has worked best for me, and that’s to look at the business of the industry through slightly different eyes…

Many times I have referenced my exit from corporate life and subsequent transition into performing as a full time job. I’ve told the story many many times. Yet there is one portion of the story which I haven’t told or explored on the written page, and it is the giant discovery I made through the process. After making my living as an employee in corporate america for ten years, and then making my living as a performer for nearly ten years after that, I discovered the beauty of seeing the structure of the entertainment industry through the eyes of the corporate structure; Especially, as a performer. That’s right, after spending nearly ten years as a worker bee in corporate, the joke was on me. Because I discovered that if I looked through the lens of my previous career, I would see that the structure of the entertainment business paralleled that of corporate america’s almost to a T. Thankfully, I had nearly a decade of practice with it, because each and everything I had done while working those 9-5 positions was showing up in my work as an entertainer. As I progressed over the next couple of years, those skills I learned in corporate, served me in ways that sent me light years past the majority of entertainers I knew. Some of the tools which have best aided me were: my annual business plan creation, office management, daily tasks, marketing strategy, contact management, communications, contracts, negotiations, sales, team building, and budget management. I will give you many many details in other chapters, but for now I want to do some quick snapshot big-picture visualizing so that you can see the business of being a performer through my eyes. The first thing on which I’d like to focus, and what will be the topic of today’s post, is my personal observation of the overall corporate structure in the entertainment industry. I’ve created a chart which breaks up the industry into five corporate tiers, and have given my description and application to performer.

(Tangible ways to make it to the next level)

TIER #1 - Mailroom

Define: The first tier is what I like to call the Mailroom. In corporate america, the mailroom has traditionally been seen as a way of getting a foot in the door to both an industry and a company. The show How To Succeed in Business Without Really Trying satirized this traditional career path. The idea of showing up, working hard, proving competency, displaying talent, and eventually getting promoted, is one which has permeated the American psyche, become normalized, and paralleled the apprenticeship model. I believe that this is what the mailroom to be: A place where you are essentially a lackey that is easily replaced and do a job which doesn’t require any special skills.

Example: An example of this model is Simon Cowell. Publicly, he has said many times that he began his career in the mailroom of EMI Music Publishing, and has worked up the corporate ladder until today where he is a celebrity figure and is producing shows like Pop Idol, and it’s US counterpart American Idol in the states. His success, like many others, is proof that the hard work/apprenticeship model works.

Corporate Comparison: My theory is that you can find the equivalent of this level in any industry. As an actor, I envision this to be any kind of extra work; Regardless of it’s on camera or on stage. If you are an extra, a walk on, or a supernumerary (Opera), then you are working at the mailroom level as a performer. Like the corporate mailroom, you are doing a job that doesn’t require any special skill, you are easily replaceable, and it is a way to get your foot in the door to the industry.

Opportunities: In my opinion, regardless of the level at which you might be, opportunities are constantly present. My theory is that regardless of your level of expertise, it is never a bad idea nor should it be embarrassing to enter at this ‘mailroom’ level. The specific opportunities I see at the mailroom level are threefold: 1) you can familiarize yourself with the big picture structure of the business, and the proper path toward your goal(s), 2) you can get to know key players in the business for the next tier, and 3) to create an outline of what the skills you should possess and might be required for each of the different levels you may target.

If you’re wondering how this would work, here are some examples to make it tangible for you…

To fulfill Step One of Familiarizing yourself with the big picture structure of the business, you can:

Figure out what people’s job titles are on a set, figure out what their job descriptions are on a set, and most of all, figure out how your job affects theirs.

Once you have figured out the previous, list some things that you can do to contribute to make everyone’s job easier. More than likely you’ll find that they will be very simple things like: staying quiet, keeping an eye on the crew and what work they are doing, always staying in your appropriate area, being ready to go for each take, and staying very VERY small with movements during each take.  

Notice that these are very simple and easy ways to excel at the mailroom level. The reason why is because the mailroom is a gauntlet. Very much like the corporate mailroom it is also a place to prepare you for the toughness you need to exude in order to be successful in this industry. It is also a reason why many large Agencies have traditionally had their agents begin their career in the mailroom; because they wanted to prepare them for the difficult journey that is the entertainment business.

To fulfill Step Two of ‘getting to know the key players in the business for the next tier’ you can do research in your downtime as to who might be casting for the shows in which you want to appear, or even making nice with those on set who are there on the show where you currently are working. Due to the inability of most to do simple tasks (like the ones I just mentioned), the entertainment business tends to be very incestuious, because people want to hire those who are competent, and can trust to do a good job. In case you missed that, here it is again: PEOPLE WANT TO HIRE AND WORK WITH THOSE WHO ARE COMPETENT AND CAN TRUST TO DO A GOOD JOB! Therefore, more than likely, if you continue working, then you are going to see these people again. So it’s a good idea to make nice with the people who are currently on set, AND begin reaching out and making nice to those who are the key players at the next tier!

Third and last, to fulfill Step Three, I suggest watching the principal and lead actors who are on the set. If you observe them, you will see that they: understand the hierarchy on set, they have memorized their lines, they are malleable and can adjust to deliver their lines as requested, and they understand where they need to be/stand, and how to ‘find their light’ both literally and figuratively (more on that later). Having an understanding of these things, is a simple yet tangible way of preparing yourself to progress to the next level.

Challenges: With all of the previous in mind, there are huge challenges in this first tier. The time, energy, and dexterity needed to endure being considered a kind of lackey is beyond difficult. In addition, there is such a large chasm between this tier and the next, and it requires a lot of focus and drive to purposefully and properly do research, make strides, and take initiative to get to the next level. Most aren’t creative or proactive enough to take that kind of initiative. This is a person’s greatest weapon! 

Therefore, to conclude, I believe that the ‘MAILROOM’ level is where we see the most drop off in the population of people pursuing a career as a performer or actor. If you don’t believe me, think of all the people you know or stories that you have heard about people who move to LA to pursue being an actor, and then leave after 6 months to a year.  

This is my general overview of the 1st of what I see to be a Five Tiered Corporate Structure in the entertainment business. Next week I’ll take a look at Tier #2 which I call “Entry Level Positions”. I’ll also begin diving into the details of that tier and also what kind of pre-requisites you should look out when entering that tier.

Looking forward to next week!