By Lynn Harrod
Right now, if you go to any alley in Hollywood and peer into any dumpster, there's a good chance you'll see stacks of discarded headshots. You'll see thousands of 8x10 color and black-and-white photos of people looking their finest, all smiles, wearing their Sunday Best. There's something sad about seeing so many hopeful faces laying at the bottom of a giant trash can.
Every actor finds himself down there most of the time. It's simply a matter of numbers. However, there are ways of minimizing your dumpster time, of making that picky casting director look twice at your photo before so quickly tossing you away.
First, let's establish one simple fact: Every actor needs a headshot. If you're an actor, and you don't have a headshot, go out and get some made the moment you finish reading this post. Just as important, if not more so, is an acting reel, but that takes time. You must appear in several different projects before you can piece together a decent reel. Headshots, however, can be shot and printed the day you arrive in Tinseltown. In a tight situation, you can even shoot them yourself.
Let's break it down. When it comes to headshots, there are three schools of thought...
First, there's the very popular
GRAB-YOUR-ATTENTION METHOD, where actors dress up in funny costumes and sexy outfits, and are shown doing something crazy, abstract, or just startling. I've seen actors wearing fishnet bodysuits with nothing underneath, actresses holding live chickens, and old men dressed as gangster rappers. The idea goes with the belief that there is No Such Thing As Bad Publicity, which in itself is another debate (for another post).
Despite its popularity and fun factor, I personally discourage this method. If you take a photo of yourself with a goose on your head, you're essentially telling the world that you're
willing to do anything for the part. This is the wrong impression to make. It's already a given that you want the part. Every actor submitting a headshot wants the part.
"But I want to show I'll do anything!" you may be saying. "I want them to know that I want it more than anyone else!"
Stop kidding yourself. It's irrelevant how bad you want the part. If you get hired, it will be for your talent, for your appearance, or for your personality. Not once has any filmmaker or casting director ever given a part to an undeserving or untalented actor simply because
they wanted it badly. This method just makes you look desperate, which is the opposite of confidence, and as we've discussed before, confidence is the key.
Next comes the
MANY-OUTFITS TECHNIQUE. An actor will have numerous photos taken of him, each in a different costume: police officer, chef, CEO, farmer, thug, etc. This is the most elaborate and expensive route to go. There's the cost of renting the costumes, the fee for the photographer, and the higher number of prints you'll need to order, which you'll most likely want in color. But there is method to this madness.
The idea is to get ten or so different looks for you, personas you'd feel comfortable playing. When a role for a street criminal is open, you submit your Thug headshot. When a role for a corporate businessman opens, you submit your CEO headshot. Sounds logical, but does it work?
It actually can. Look at it like this: when one of these aforementioned roles opens, the project's casting director and his assistant pour through hundreds, often thousands of headshots. They go through them like lightning at first, then with more scrutiny as they narrow down the field. As they sift through the countless headshots, they're thinking "Street Criminal," suddenly -BOOM- there you are, already dressed the part. It won't guarantee you the role (only your talent will), but it will guarantee you will be included when they narrow down their selection. I know of several actors that have gotten consistent work this way.
The third strategy for headshots, the simplest one and the one I recommend, is to take 2-3 photos of you in your
NATURAL STATE. There's a cliche that says to "just be yourself," and it's true. This doesn't mean to take snapshots of you watching TV or cleaning out your garage. Basically, the photo needs to look like
you.
Your choice of clothing should look like something you'd wear. Your facial expression should not betray how you'd normally look. Your makeup should not entirely transform you (no glamour shots!) Yes, you should appear neat and clean and attractive, but it needs to show your essence. That is, after all, what you're going to seal the deal with during the audition.
If you've gained or lost considerable weight since your last headshot, get new a one. If you've lost or grew some hair since your last headshot, get a new one. Do not misrepresent yourself. It's a waste of everyone's time (including yours).
One last thing to mention is the
back of the headshot, which contains your resume. No matter how you look on the front, if the back is lacking, you ain't getting that call. Get out there and get some work done. Short films. Student films. Local theatre. Acting classes. Workshops. Open mics. In L.A., there's endless opportunities for actors to keep their tools sharp everyday, while at the same time building their reel and resume.
To sum up, when it comes to getting headshots, remember that the idea is simply to sell you as your are. There's no secret. It really is that simple. Of course, you're an actor, and you want to show that you can fit in many roles, but save that for the audition.
Let them call you in because they like how you naturally look and come across in a photo. Let them think they might be able to mold you to the role and fit you into the story. Then come to the audition and seal the deal by proving them right.
[Lynn Harrod is a filmmaker, a seasoned screenwriter of twelve years. His work has placed in the Nicholl Screenwriting Fellowship, the Writers' Network Screenplay Competition, the FadeIn Awards, and the Nevada Film Office Screenwriting Competition. Lynn is a staff writer for IFLA.]
