There are a lot of people trying to set up these "online casting" systems -- some legit, and others less so. The biggest problem lies in the simple fact that most of these individuals and groups are trying to create a proper structure without a guideline (ie: the Internet is still a new media for this type of casting.)

Check out my article "NET ACTORS: Online Casting" for some guidelines to consider in determining the validity and future of online casting databases.

As for the open casting calls, many will be legit. Small independent productions (often non-union) are the likeliest to use the net for open casting calls. This can be of great benefit to both the production and the newer performers.

With enough searching, you'll also find a few sites with casting calls from major studios. You'll find this becoming more and more common place whenever a major studio needs to do one of their (rare) national talent searches for specific characters.

I'm slowly trying to build a production/casting listing (for territories outside my own) and will try to put it online once I've tracked down enough sites. For anyone interested, I've also started setting up an "Audition Room" [after a local request.] Although I don't envision the listing to grow very much, you never know...

I'm afraid I can't help you as much about the legal issues: although you would like to work as an actor, it still falls under immagration laws. However, I have tracked down a few sites through HotBot which might help provide some assistance:

US GOV'T INS SERVICE
FAQ (Temporary workers)
IMMIGRATION LAW
"GREEN CARD" ARTICLES

High-school drama -- No. College/University drama -- maybe... and courses through a scam agency can actually be a deterrent for some agents.

Training through a College or University will likely help you develop your skills as a performer, but don't let it give you a false sense of security or accomplishment. Unfortunately many performers come out of their studies with a false sense that they now know everything needed since they have a degree. In this industry, there simply isn't any guarantee.

During the schooling, you may have been the big fish in the pond. When you get out though, you'll soon find yourself competing in the deep waters of an ocean (and is it ever crowded with hungry competition.) Use the schooling as a solid platform, but don't stop there...

Check with your local performer's union, organizations, and theatre groups to see what additional training is available. Courses, Workshops, and Seminars each have individual benefits and drawbacks. Try to build on specific skills (usually best done through workshops or private sessions.)

There's definitely a call for twins (and for triplets, etc.) but don't expect the work to come pouring in as a pair. Just watch the screen and see how many twins are used compared to individual performers. You may think being twins puts you in a unique spot, but the truth is there are quite a few (experienced) twins out there.

Now for the good news... there's nothing to stop you both from trying out for individual roles as well as the twin spots. Besides getting photos printed as a pair, be sure to get individual headshots as well [steal each other's only if your supply really runs low.] Therein lies the bad news...

You will need photos! Unless there's an open casting call specifically for twins, you won't get very far without proper pics. You may easily be passed over if other twins have their pics to turn in. Even if the casting people take a Polaroid at the actual audition, the real performer's photos will be staring the director in the face (bringing that performer to mind more often.)

Very few of the Productions will hold open calls for casting sessions. I mainly try to supply the phone numbers for when people want to follow up on their pay (ie: check with the accounting departments when payments are late) or for real emergencies (disaster hits and you can't make it to set).

Being aware of "the scams" out there helps. Always take any praise or promises a potential agent offers with a grain of salt. Don't be afraid to ask them questions, and NEVER sign any sort of contract (or registration form) without taking it home to read privately (ie: away from their office, and when the initial excitement has cooled down.)

I know most people say to stay away from any ads in the newspaper, but this may be the best starting point for some people. You might see twenty scams, but you could also hit on a few legitimate agencies.

Ask any friends who have done Extra work about their agent. If you spot a production being shot outdoors and see a group of Extras off to the side, ask them about their agent and see if you can get a phone number. Don't walk right into the shooting area to ask, but if you see them sitting at the sidelines then you might be able to pop in and out without disturbing anyone.

Check with any local drama groups. Sometimes the people there also do background work and can direct you in a reasonable path. You could also try checking with your local SAG/AFTRA office [performer's union] and see if they might have a partial listing of local Extra's Agencies.

Don't worry about not having extensive acting skills. The great part about Extra work is that you can learn a lot as you go. Unfortunately most performers tend to ignore the chance to use their time on set fully. After a couple of shoots, you'll be able to spot those serious about their craft, and you'll pick it up in no time: don't forget to ask them about their agents too.

Being in a major film market helps, but I hope I don't burst your bubble when I say film work (Extra or Principal) doesn't really offer as many big payoffs as most people think. You might want to check out Tripod's actor employment page.

In the US: Earnings from acting are low because employment is so irregular. According to data from Actors' Equity Association, about 60 percent of their members had no earnings from acting in 1991, and only 918 members earned more than $35,000. The median earnings for stage acting in a course of a year was approximately $5,200. The Screen Actors Guild reported that the average income its members earned from acting was $1,400 a year, and 80 percent of its members earned less than $5,000 a year from acting.

Current SAG/AFTRA rates for General Extras are about $86-99/day depending on the State [check with your local SAG branch for current union rates]...

A lot depends on how well you fit your local market (ie: how often your look is in demand, and how well you do your job on set.) Professional attitudes and approach to your work will greatly increase the amount and type of work you get. It may also offer opportunities for upgrades to actor categories.

The general rule is, that although some Extras Agents may find the occasional Principal work for their talent, they're still to be classified as Extras Agents only. The daily operations and roster requirements are quite different for the two types (see "In Search Of An Agent" for some details.)

As with every rule, however, there are exceptions. When living in a Large Centre Casting area (eg: Toronto, New York, L.A., etc.) Principal and Extra agents each handle their own specific fields. When in a Small Centre Casting territory (as you are), then the agent often performs double duties by representing their talent for both fields as needed or requested.

The reason is quite simple: there isn't as much film work overall in smaller centres. In exceptionally small areas, the production may even hire an in-house casting person who will also assume the duties of an agent (without receiving the commission from the performer.)

In large cities, a professional breakdown service is often contracted by the production office. Toronto, for instance, uses Tracy Productions for all the major film and series. The breakdown service distributes listings of all upcoming principal roles to the agents (who in turn submit possible candidates for auditions.) Since smaller centres don't have as many shoots happening at the same time, the Casting personnel often deal directly with individual agents instead of hiring a breakdown service.

Deciding whether or not to sign with a dedicated Principal Agent, or one who handles bother principal and background work for your area is a personal decision. Since Kitchener is still relatively close to Toronto, you may want to sign with two separate agencies (one for each category of work) if you really want to pursue more opportunities for principal roles on Toronto shoots. However, if you're satisfied with the local principal work only, then an agent who handles both fields in your territory may be enough.

To help in your decision, check with your local agent and find out which breakdown service(s) they subscribe to. For your city, an agent signed with Tracy Productions may provide the best option for you.

Since you mention that you've done some "professional" engagements and commercials, I can only assume they were under an ACTRA contract (the professional performer's union for film/tv/commercial jurisdiction in your territory.)

If that is the case, you should check with your local ACTRA branch to decide whether or not to apply for ACTRA Apprentice Member status. If you don't, your credits may not apply to future membership applications.

If any of the "professional" engagements were for stage, then it would fall under the EQUITY jurisdiction (the theatre performers union.) Once again check with your local branch to determine membership qualifications.

The reason I mention dealing with the union matters first is because they may have serious impact on your booked work. The union status will demand you be paid at least specific minimum rates for your engagements. It also means that you would not be allowed to do any non-union theatre, stage or film work (even if you've already booked yourself.) As a member of either performer's union, you would also be restricted to engagers who have a reciprocal agreement with the union.

With that said, let's move on to the question about getting an agent...

Deciding when, or when not, to get an agent is a personal decision. If you feel you're getting enough work and bookings on your own, and you're happy with the pay rates you've been negotiating, then booking through an agent may not be for you. Afterall, you'll still need to pay them the 10-15% commission from your upcoming work.

It also depends on what you are expecting from the agent. They may be able to gain you access to auditions for plumper roles, and will likely be more experienced at negotiating bigger and better contract riders (ie: more pay, bonuses, and perks.) They can also help remove some of the drudgery of tracking down additional shows for the future: while you're busy on stage or set.

Only you can decide if you're ready to start looking for an agent. Even if you do, it's still up to them as to whether or not they wish to represent you as a client. Once again, your union status may help sway them to take you on.

(Also read the Aug 29 '96 response, Ref #0006)

Since you haven't any professional experience, it's unwise to approach Principal agents just yet. However, Extra work will allow you to get your feet wet, and your inexperience won't count against you... and yes, it's much more flexible to your schooling schedule.

Although I cannot provide endorsement on any specific agent(s), you can find a partial listing of both Extra and Principal agencies for your general territory in the Contacts & Resources area of this site. Please note that the listing is far from complete, but it should help get you started.

Also check the classified sections of your daily and local newspapers. Word of caution though: there are a lot of scams out there, so be careful. You might also want to read the online article "Waiting To Be Scammed" before venturing out. If you have a copy of "In The Background... An Extra's Handbook", be sure to use the Agent Checklist in the Toolkit section of the book for your phone contacts and any office interviews with agencies.