Actor Mindset, Money, Self-Tapes, Set Life, Agents, and Auditions | ROADTRIP LIVE Q&A

Summary

One Broke Actress Podcast: Episode Summary

Episode: Actor Mindset, Money, Self-Tapes, Set Life, Agents, and Auditions | ROADTRIP LIVE Q&A
Release Date: September 12, 2024
Hosts: Sam Valentine & Gabrielle Benloss

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Introduction and Setting the Scene

[00:00 - 02:00]
The episode kicks off with Sam Valentine and co-host Gabrielle Benloss setting the stage for a live road trip episode. They describe their journey in a Maserati through the Arizona terrain en route to the Southwestern Actors Conference. Gabrielle humorously captures the anxiety of being in an unfamiliar car and the uncertainties of their destination.

Notable Quote:
"We're inside of a car driving and I have anxiety about driving because obviously being black in America is one thing, but also this is a new place." – Gabrielle Benloss [01:16]

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Navigating the Actor's Landscape

[02:00 - 06:00]
Sam and Gabrielle delve into the complexities actors face today, particularly focusing on the ease of handling self-tapes compared to earlier years. Sam highlights how detailed and sometimes overwhelming audition instructions can be, which often lead to unnecessary stress for actors. The hosts emphasize the importance of perspective gained through experience, allowing them to navigate auditions more calmly.

Notable Quotes:
"There are so many simple things that we take for granted now in acting." – Sam Valentine [02:38]
"People really don’t care about you walking backwards in your self tape." – Gabrielle Benloss [04:57]

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Overcoming Fear and Embracing Growth

[06:00 - 09:45]
The conversation shifts to the pervasive fear and scarcity mindset that many actors grapple with. Sam shares a personal anecdote about almost missing a national commercial audition due to anxiety, underscoring the mental barriers that can hinder success. Gabrielle offers a counter-perspective, encouraging actors to recognize when opportunities aren’t meant for them and to develop a mindset that detaches personal worth from professional setbacks.

Notable Quotes:
"Everybody wants to get it right, but that way they look at our audition and they either want us for this or they want us for something else." – Gabrielle Benloss [05:11]
"Once you’ve had something like a national commercial, you're like, oh, well, where do I go back to get more." – Sam Valentine [09:45]

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Financial Success and Community Support

[09:45 - 16:09]
Sam discusses the financial liberation that comes with booking national commercials, highlighting how monetary gains provide actors with greater freedom and security. However, this success also brings heightened awareness of potential opportunities and the fear of missing out. The hosts introduce Side Hustle Academy as a resource within their membership community, emphasizing the importance of a supportive network where actors can openly discuss finances, share contracts, and empower each other.

Notable Quotes:
"Money is freedom." – Sam Valentine [10:36]
"When you have the right type of community, it isn't seen as something that's competition." – Gabrielle Benloss [14:02]

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Practical Tips for Auditions and On-Set Success

Self-Tape Strategies

[17:20 - 23:04]
Gabrielle shares actionable advice for handling audition instructions, such as using props out of the camera frame and maintaining eye lines. Sam recounts her early struggles on set, emphasizing the importance of understanding camera angles and set protocols to avoid missing crucial shots. The hosts stress the value of continuous learning and adapting to ensure professional growth.

Notable Quotes:
"If you're uncomfortable with that, say no." – Gabrielle Benloss [32:35]
"Keep your shoulders cheated towards the camera." – Sam Valentine [25:04]

Navigating On-Set Dynamics

[23:04 - 28:44]
The hosts discuss the often-overlooked nuances of being on set, such as the significance of call sheets and the role of production assistants (PAs). Gabrielle narrates a positive experience where a PA helped her adjust her framing during a shoot, showcasing the collaborative spirit that can exist on set. Sam shares her own mistake of not understanding camera placements, leading to a missed opportunity in a national commercial.

Notable Quotes:
"Have your shoulders cheated towards camera if you do especially like on a commercial set." – Gabrielle Benloss [25:08]
"It's all about serving the story and serving the characters who are the originals on the call sheet." – Sam Valentine [28:44]

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Advocating for Fair Compensation

[28:44 - 34:01]
Sam and Gabrielle tackle the often-taboo topic of discussing money within the acting community. They highlight the importance of actors advocating for fair pay, especially when asked to perform additional tasks like chemistry reads during callbacks. Gabrielle emphasizes that having open conversations about rates and contracts, facilitated by their membership community, can empower actors to demand what they deserve without fear of competition or judgment.

Notable Quotes:
"There is value in the corners that we're not even looking into." – Sam Valentine [14:08]
"There's a lot of stuff that you can share in the membership that isn't seen as competition." – Gabrielle Benloss [14:08]

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Setting Boundaries and Maintaining Integrity

[34:01 - 35:57]
The discussion moves to the importance of setting personal boundaries when choosing roles. Gabrielle advises actors to decline auditions that conflict with their morals or comfort levels, such as those requiring unwanted nudity or depicting distressing content. They encourage actors to communicate their boundaries confidently to agents and casting directors, ensuring that their professional choices align with their personal values.

Notable Quotes:
"If your gut does not feel like that audition is right for you, you can decline." – Gabrielle Benloss [32:35]
"If it's against your morals, if you have a bad gut feeling about it, maybe... you can say no." – Gabrielle Benloss [32:58]

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Embracing Community and Continuous Learning

[35:14 - 38:34]
As the episode nears its end, Sam and Gabrielle highlight the critical role of community in an actor's journey. They discuss their own membership platform, which offers resources, support channels, and educational materials to help actors navigate the industry's challenges. The hosts emphasize that no actor should have to face the pressures of the business alone and promote the benefits of joining their supportive network.

Notable Quotes:
"If you feel like you have no place to have these conversations, that is what we made the membership for." – Sam Valentine [37:08]
"No reason you should be trying to do this career alone, get more money for it, or find somebody to go into business with and make money off of." – Gabrielle Benloss [37:55]

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Conclusion and Final Thoughts

[38:34]
The episode wraps up with a light-hearted exchange between Sam and Gabrielle, despite the intense discussions. They joke about the challenges of the road trip, including dealing with the car's AC and witnessing a dust tornado, highlighting the blend of professionalism and friendship that defines their podcast.

Closing Quote:
"I love. Get your ass on the waitlist if you're not already." – Gabrielle Benloss [38:31]

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Key Takeaways

1. Embrace Experience: Over time, actors can gain the confidence and knowledge to handle auditions and on-set situations more effectively, reducing unnecessary stress.
2. Community Matters: Being part of a supportive network where actors can openly discuss finances, share resources, and advocate for themselves is crucial for professional growth.
3. Advocate for Fair Pay: Actors should feel empowered to discuss their rates and demand fair compensation for additional tasks or responsibilities.
4. Set Personal Boundaries: It's essential to decline roles or auditions that conflict with personal morals or comfort levels to maintain integrity and mental well-being.
5. Continuous Learning: Staying informed about industry standards, camera techniques, and set protocols can prevent missed opportunities and enhance performance.

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Resources Mentioned

• Side Hustle Academy: A resource within the membership community offering courses and support for actors seeking financial stability alongside their acting careers.
• Actor Dictionary: An online resource provided through their membership, offering definitions and explanations of common industry terms and set lingo.

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Subscribe to One Broke Actress Podcast:
Stay updated with Sam Valentine and Gabrielle Benloss as they continue to provide invaluable advice, tips, and real stories from the acting industry. Join their community to access exclusive resources and support fellow actors on their journey to success.

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This summary encapsulates the key discussions, insights, and practical advice shared by Sam Valentine and Gabrielle Benloss in this episode of the One Broke Actress Podcast. Whether you're a seasoned actor or just starting out, their experiences and recommendations offer valuable guidance to navigate the complexities of the acting world.

Transcript

[Sam Valentine]

Fast Forward Productions. The women are speaking gab. For those who are listening at home and not watching this on YouTube, will you set the scene?

[Gabrielle Benloss]

Well, I don't need to set the sound scene because you can hear it in the background already. But picture this. You're driving in a Maserati, listening to the sound of Samantha Valentine and Gabrielle Benloss's voice as you go through the terrain of the Arizona State. To the right and left of you is nothing but dirt and mountains. You're seeing a two lane road in front of you, an orange truck, and you are on your way to do a presentation to a bunch of actors about how to make money and also be an actor.

[Sam Valentine]

Thank you so much for coming to this soundscape. This has been a lovely podcast. What's up guys? Welcome back to another episode of the One Broke Actress podcast. An honest account of afterlife, plus a few lessons in the process. I am your host, Sam Valentine and this is the co owner of the membership and one of my bestest friends, Gabrielle Bin Lass. Hi. Hi. We are currently driving to the Southwestern Actors Conference and we are two hours left on a six hour road trip and we have never hung out, not at each other's houses before.

[Gabrielle Benloss]

That's right.

[Sam Valentine]

So this is next level friendship stuff.

[Gabrielle Benloss]

Yeah. Because we're inside of a car driving and I have anxiety about driving because obviously being black in America is one thing, but also this is a new place. And what really gets me is when I don't know where we're going and what could be happening. And then, you know, control is a big thing. So we're not in a car that I'm familiar with. We're in a Maserati, which sounds ironic that I would rather be in my Volkswagen Atlas, but it's all new, fresh things and then you're stuck with somebody in a car the entire time time. Like, what if we didn't like the same snacks? What if we didn't like the same music? Which is ironic. You're good with whatever music.

[Sam Valentine]

Yeah, we've barely played music.

[Gabrielle Benloss]

That's true.

[Sam Valentine]

We've been working the whole time.

[Gabrielle Benloss]

That's true. We have worked the whole time, whether it was discussing work or talking about work or doing work.

[Sam Valentine]

And that's why I said let's turn on the podcast because we started talking about a topic and I thought this is perfect to record because we've been working a bunch of stuff for side Hustle Academy and at the same time we've been talking so much about acting and how they intertwine While at the same time navigating, going to this conference. I have auditions coming in, you're navigating, being out of town. So we'll have to self tape whenever you get something because you know it's inevitable. You know, at the end of the day today you're gonna have to.

[Gabrielle Benloss]

At the end of the day today there's gonna be something in my end.

[Sam Valentine]

If not two or three.

[Gabrielle Benloss]

And if it's not gonna be that, for the acting side of things, it's gonna be a veil check. Or it's gonna be me recording on the millions of cameras that we've brought for B roll for other things that we needed for.

[Sam Valentine]

Yeah, we do have a. There's a lot of things going on. But the topic before that we were hitting on was about there are so many simple things that we take for granted now in acting. For example, the fact that we can just do this and know that when a self tape comes in, we'll be able to handle it is not something that I would have been able to handle earlier in my acting career. Or stuff like the intricacies of when you get a self tape audition. And there's like 17 pages of examples of how to do your goddamn slate. And you know it's because people really fucked it up before. And so they're just trying to give you every possible piece of information. But what happens is it just inundates people instead of giving them more availability to read the directions. But that's fine. To each his own. We were talking about how certain little aspects of it we know, not important. It's just something casting wrote in there to perhaps make our lives easier. So for example, we were talking about how actors will panic sometimes. Like, oh, I have to do this full body shot. I say, great, here's exactly how I do it. I'll link it below in the show notes for you guys and exactly how I do it. And they say, oh, that's not what it says though, in the directions it says walk backwards into the shot. And we both know they don't want to see you walk backwards. What they're trying to do is make it easier for you to get one big wide shot and then come back to center. But actors will panic because it's not exactly the direction. And as we done this for so fucking long now, we know that that's not actually what casting cares about. And those are the little things that you forget. Remove some of the stress of this business from yourself when you're not brand new anymore.

[Gabrielle Benloss]

The walking backwards is Tricky, because it sounds so stupid. It sounds stupid, but I mean, for everybody that's listening, you know, obviously you're taping yourself tape from the chest up framing, right? And so they're assuming that if you're in chest up framing, you could simply just walk backwards a couple steps and now we can get more of your full body, which you can understand why that would seem easy if you were in take a step back because you literally only have enough space to get your chest up framing. And so the fix here, as we both know, because we've been doing this for over a decade, is to take a full body picture and edit it into your video, which is what Sam has posted a million times. And it's always accessible. And a lot of it, I think comes from the fact that you're scared about doing something wrong and being blacklisted in the entire industry, which, here's what I want to tell you about that. It's cute that you think people care about you that much. They really don't.

[Sam Valentine]

Nobody cares.

[Gabrielle Benloss]

I have actually heard casting directors say they're not going to blacklist you unless if you do something that is actually legitimately hurtful to them or their people, or you're talking about outrageous things like maybe you're racist or maybe you're homophobic.

[Sam Valentine]

Yes, of course you're going to get.

[Gabrielle Benloss]

Blacklisted from doing something like that, but not walking backwards in your self tape. And so I think a lot of the stuff when you are starting out as an actor comes from a place of fear because we are all at the end of the day just wanting to get it right. That way they look at our audition and they either want us for this or they want us for something else. And the privilege that you and I now have after over a decade is we have perspective, which we've learned that not everything is so fragile. And if you come from a space of fear in this entire realm of being an actor, you're never actually going to progress or evolve because you're just making steps out of being scared of doing the wrong thing. And there's no playbook in this industry on what is right or wrong. So you don't actually know where to go. You end up staying in one spot. Which is why we said, let's open up the camera and start recording.

[Sam Valentine]

Yes, pieces of that fear mentality can really stick with you long term. For an example, last night we were getting ready to go to bed. You and your husband are staying at my house. We ditched our husbands together and we're like, peace out, have a good time. By the way, they're probably having more fun than us.

[Gabrielle Benloss]

Oh yeah, I just got, I got a selfie from Corey with sweat dripping down his face saying three six Mafia is playing in the background. I'm working out. I'm having a great time. So confirmed.

[Sam Valentine]

Fabulous. I can't wait for you to move to la. The time has come. I just needed to get your husband here and now I shall have you think of the things we could get done. So we were getting ready to go to bed and we knew we were going to get up early, get ready and leave on this trip. I got an email from my commercial agent that said, hey, here's an in person audition for tomorrow at 3 o'clock. It is literally almost that time right now. I would be going to that audition right now. And I knew it wasn't possible for us to get to this conference and do that. Have I booked out? Yeah, like six months ago. I barely remember doing it. But also the fear dust that remains at the corners of my brain was like, oh no, this is a national commercial. I'm gonna miss it. Definite lack. I'm gonna upset my agent that I can't go to this opportunity. Is there another way I can make this work? And you said, oh, I'm so sorry, is there anything we can do? And I said, no, we'll just wait. And you said, okay, great. If they can't make it work for you in a self tape or zoom, that means it wasn't meant for you anyway. And that is coming from not a place of lack.

[Gabrielle Benloss]

Yeah.

[Sam Valentine]

And that is something that I'm still dusting those fear dust bunnies out of the corner sometimes. And it's hard to do when people who suck in this business leave big hard fear footprints in your fucking brain.

[Gabrielle Benloss]

Yeah. You've also had some success with national commercials in this past year. So I think what happened there is you had gotten to a great place of not being so attached to commercials because Sam had been in like five or six commercials that she either got cut out of or they ended up not going national even though she thought they were going to. So she had kind of like put commercials to the side because obviously she's like, every single time I do something it turns out a different way. So I'm not as attached to them.

[Sam Valentine]

Yeah.

[Gabrielle Benloss]

But recently the past year she's had two SAG national bookings, which has been fantastic and also supplied a totally different lifestyle for her. In terms of money. Yes. But also security and being able to be seen by more eyes. And so that has created, I think, a new level of potential fear for you because you're now so much more aware of what the potential. Potential could be.

[Sam Valentine]

Yeah.

[Gabrielle Benloss]

So it re. It ups it for you of like, oh, crap, am I going to miss out on this opportunity for somebody like me? I have booked a bajillion commercials, lots of them being national. I know that they come and go no matter what. I also have a different mindset that I've worked really hard on of you can't miss anything that's not yours already. So what I told Sam was like, oh, well, if they can't rearrange it, it was never your commercial to begin with anyways. Because if it was your commercial, it would be rearranged and you would get it. And there's also a world in the same space of where you're worried about missing the commercial, not getting something or messing up people. There's the opposite of that world where the reason why you missed this commercial was because the commercial already knew it wasn't for you. And so it's just literally passing you by, like another train at the station that you just happen to be at, but you're getting on the train that's after it. And I think that is hard because when you get a little taste of what it could look like, you obviously want it again. Of course, which is why we're creating, you know, side Hustle Academy, which we'll talk about later, but because we have to get rid of some of this feeling of, I need stability from my acting career, because there's now going to be even more time where things change. This whole industry looks very different. Yeah. AI VR really changing things up. I'm hesitant to say there was never consistency to begin with, and any type of consistency that you might have thought was consistency is now out the window.

[Sam Valentine]

Oh, my God. Yes. And it's just. It's funny how much more nobody got into this business. Well, nobody will admit out loud they got into this business for money. Everyone who listens to this podcast, I know you because I am you. And we were like, we love the art of acting. We love the work. And also, once you've had something like a national commercial, you're like, oh, whoa, wait a second. I took a nap today and I woke up and there's $7,000 in my bank account. And, excuse me, that's possible. And money is freedom. And the freedom that you receive from not having to be beholden to jobs and things like that and bookings and whatever is coming next is very alluring. And once you've tasted it, it's like, well, where do I go back to get more and seeing a potential? By the way, welcome to the true desert. Now you have cats all around you.

[Gabrielle Benloss]

I was just looking at that. Wow, there's cactuses, Cactuses, cacti, cacti. There's caxi everywhere. Look. I've never had to question that because there ain't no cat over here in Georgia.

[Sam Valentine]

Tis. Tis cacti across the board. Very good succulents for the desert life.

[Gabrielle Benloss]

Lots of succulents out here.

[Sam Valentine]

But when we talk about new level, new devil type of situations of like leveling up problems is once you realize the potential, it's hard to not even consider it when it comes to something. But I can't imagine what this would. Would feel like of leaving a national commercial. Not. Not that I. Not that it was mine. By the way, if you booked Papa John's, call me, I want to hear all about it. I hope, I hope it was one of my listeners.

[Gabrielle Benloss]

That's all I want is someone fantastic.

[Sam Valentine]

You just recently booked Papa John's new audition in Santa Monica. I'm so proud of you. Oh, my God, shoot me a dm because I want to know that this is you.

[Gabrielle Benloss]

And that would really just plug the story even better of like, it was never meant to be yours in the first place. Like, that would really be awesome.

[Sam Valentine]

Because whoever got it is like, I needed to buy this surgery for my dog or I want to pay off my car like somebody else. It's meant for someone else because quite frankly, we are doing very well financially. And why. Why do I feel, like, scared to say that out loud?

[Gabrielle Benloss]

Because we hate to come for you. Because you know people are going to come from you because. Because one, you started a career off with one broke actress and people felt like you had to be broke for the rest of your life.

[Sam Valentine]

They do hate that.

[Gabrielle Benloss]

They hate that. And people also want the starving artist to be their mo.

[Sam Valentine]

Why do we want the artists to be so starving?

[Gabrielle Benloss]

I don't know. I think it's. You know what? I do understand a bit of it because so much of this career is narcissistic that I think that saying that you are making money off of this career makes people feel like you are less humble. Because they don't get to see all of the work that we do. They just see audition, audition, audition. Wow. You booked. Now you have all this money. Oh, my God. Must be nice. They're not seeing the endless classes that you've been in, the multiple times you've paid money to be able to coach.

[Sam Valentine]

And all the other stuff that goes.

[Gabrielle Benloss]

Into the bachelor's degree that you got while they were getting a degree in business and now they were already making six figures. They're just seeing the end of the journey and thinking, okay, weren't you just complaining last year about not having money because you were on a strike and now you're making all of this money? And I honestly would love to try to, like, change that whole storyline of actors not talking about the amount of money that they make. Like, it shouldn't be so faux pas, because I do think a lot more people would find hope in it than the people that wouldn't because they'd be like, so there is money to be had. There is a way to do this. That doesn't mean I have to eat ramen for the rest of my life or have a private chef. Like, there's an in between.

[Sam Valentine]

And I don't know why we don't. Well, I can tell you why we don't see more of it for several reasons. But we talk. So in tm, in the membership that we run together, it's a big thing we've talked about about people sharing their contracts and talking about pay rates and things like that. Because people talking in a room about how much they're getting paid for things are huge. Like, for example, we had a member recently who posted that she booked a project and they asked her if she would come to callbacks and be the chemistry reader for all of the other people who were auditioning for the other role she was playing opposite of. So I was like, hold on a second. So you're going to give them a whole day of your acting work, like 10 to 20 people, and you're going to read with them? I was like, so just so you know, you should get paid for that. And I think you should talk to your agent about it. And I don't know, I'm not sure if she took me up on it because there's also a lack mentality in asking for money.

[Gabrielle Benloss]

Yes.

[Sam Valentine]

But regardless, that's something you should be paid for. And because you know how much a wardrobe fitting is worth.

[Gabrielle Benloss]

Yes.

[Sam Valentine]

Like, it's. There is value in the corners that we're not even looking into because we're like, oh, thank God, a chance to do my work. And I'm like, and also somebody has money. Definitely if a project is being made, there is money. And I'm not saying you have to ask for $5,000 in green M and Ms. In your trailer, but you can get paid for the day you work callbacks for them.

[Gabrielle Benloss]

Yeah, especially because this person had very emotional scenes. She worked her ass off. And trigger warning, there's some DV scenes in there. I'm pretty sure there's some essay scenes in there. So she was really having to do a lot of up and down of mental gymnastics. And so that obviously needs to be paid for. But that type of a conversation, while it seems so small and nuanced, doesn't even happen if you don't have a place to be able to discuss money anyways. Because that just flies underneath the radar because you're like, oh, it's not a big giant paycheck. I shouldn't even ask anybody about it. But in tm, we are so open. We're sharing contracts, we're looking over them with each other. We're also being able to compare rates of what we've made versus what somebody else is being made. And that kind of stuff, when you have the right type of community, isn't seen as something that's competition. It's seen as people either learning from it or other people being able to use what they've learned to help. And I know for me, a lot of the things that I have been on, I also have tried to put out into the universe of manifesting to be on sets where there's learnings. Because I know a lot of actors wouldn't stand up for what they deserve. And I will. So let me do it and then I can bring it to you. We can discuss it openly with finances so you can see an example of how to do it. And I hope that more actors that are like us, that have been doing this for a while start to be more open about these types of topics. Because I think that that's how we can grow and that's how the next time that we have a contract renewal, we can all be so much more in the know and have understood what we're fighting for versus it being so much of like, yeah, I think I'm a part of this union and I don't really know what's happening, but something's going on. Like we can really make a bigger difference if we can help each other collectively and stop making it this hush hush conversation about money. You're not supposed to talk about it.

[Sam Valentine]

Yes. And I get that people need a certain barrier to entry to open up. I get that there is a comfort level that not everyone has, but that's literally why we build a membership. It's because we realize, we recognize that while we created these communities on Instagram where I'm like, I haven't booked anything in three years, let me tell you about it, and I'm comfortable doing that, but that took a shitload of work for me to be able to say it. Nor do I think everyone should be saying it because, like, I get it. There are other things you can celebrate that I want you to highlight. Finding your safe space to do it in. We literally have a channel called Safe Space where actors can complain or be sad or add, like, emotional baggage. It's an emotional baggage dump, as you need it to drop things. And you can say whether or not you want coaching and thoughts around it, or whether you need support or if you just want to say it to. To not be alone. And those types of conversations, whether they're about money or about the fact that your parents don't support your acting career or something like that, having a safe space where you get to see the faces of the people you're talking to is just. I mean, I can't imagine how it would have changed my acting career for, like, the little we're talking about of, like, walk backwards into yourself tape to, like, these conversations about money and worth.

[Gabrielle Benloss]

Yeah. I was just thinking, like, if we could go back, like, if I was a listener right now hearing this podcast the first time, maybe I just started acting this year, or, oh, gosh, even worse, which I really feel for you, if this is you. I started right before the pandemic. Yeah, those actors that started right before the pandemic made it through was like, okay, here we go. We're gonna pick up. And they went right into a strike. And then now we're in this clusterfuck of a year. If we could go back right before the strike portion, which I know if you get asked all the time, it's like, what would you tell your younger self? I'm not saying that. What would be. Some of the things that we have perspective wise, like the extra notes on a slate, are just to be able to help you get what they're looking for. But you can also do this one thing, take a picture and edit it in, and that works for all slates. What are some other overall arching things that we could probably just pop in here for people to be able to, like, write down and be like, oh, really? That's what that meant. So I can do that. Oh, I've got one.

[Sam Valentine]

Oh, yes.

[Gabrielle Benloss]

When it says do not use props or props not allowed. Guys, you can absolutely use props. Here's my favorite way to use them out of camera. So you will make sure that your chest to top of head or top of shoulders to top of head. And whatever you're doing, maybe it's folding towels, is happening underneath the frame so you mindfully can still have them, which can be very helpful, especially when you're a new actor, because it can get you out of your mind and into your body. So now you're doing something, and you're not so focused on the lines, and it's not happening on camera, and you're constantly like, well, it says no props. I don't want to use the props. There's a telephone on it. You can still use it. If it makes sense in the scene, you can use it. It's about not making the prop the star of the scene. You're still the star. So a way to use a phone would be to either make sure you take your distracting case off of it, turn your phone completely off. That way it's not. It's like lighting up and not lighting up, and then put it up to your ear and have the conversation. Make sure you're still cheating your eyelines towards camera directly off to the right. You're not talking down to the floor or up to the sky. You're not using the camera in front of your face to block it. Pro tip, right here. Have your reader call you, and you take the call on speakerphone. Transition it to speakerphone. Now my entire face is opened up while I'm having the conversation. Now, that's something I wish I had known when I read no Props and I had an audition that involved a phone.

[Sam Valentine]

Yeah. Oh, that's so good and tangible. Okay, okay, okay. I want to think of one. You did audition, so let me think of a different.

[Gabrielle Benloss]

Think of a different one.

[Sam Valentine]

Give me another category.

[Gabrielle Benloss]

What about an on set one?

[Sam Valentine]

An on set one? Ooh. I'm trying to think of, like, my first times on set. I made such a big deal, and I sucked a lot of my own energy out because I didn't want anyone to think it was my first time on set.

[Gabrielle Benloss]

Oh, that's a good one.

[Sam Valentine]

I pretended to know what everything they were talking about was like. They were like, oh, B cam. And back to one. And things that I had maybe heard in passing on, like, bad student films and things like that. But there were so many pieces of sign out with the PA and things like the little things that I was.

[Gabrielle Benloss]

Like, yeah, they're gonna come to your door. To tell you it's ready to go.

[Sam Valentine]

Yes.

[Gabrielle Benloss]

You're waiting in your trailer, just waiting, staring at yourself.

[Sam Valentine]

Oh my God. And they knock like just you came. Right, right, right. Oh, God. And I know that it sounds so silly now because there are so many resources, but we didn't have them.

[Gabrielle Benloss]

First of all, there's not so many resources that are in one place. Which I'm gonna go ahead and plug here. Shameless plug. We'll drop a link for you to be able to digitally download it for a super cheap price. Sam has an online dictionary for everything that has set you need to know for being on set, behind the camera and everything. The actor dictionary, it's actually in the. It's one of the resources we have for the membership for free. So if you're in there, you're listening to this, you know you already have it in there. Or maybe you're going to join the membership. Hold off because we'll be opening our doors soon. We'll drop the waitlist as well. That way you can sign up for it because it'll only be open to the waitlist and you can get a.

[Sam Valentine]

Week after this airs, we're going to have a new September class. Oh, wow.

[Gabrielle Benloss]

So you're probably already ready for that. But what I'm trying to say is if the membership is not your jam, or maybe something you don't really looking for right now, but this sounds good. We'll have the link down there so you can get a digital download. That's all you need before you get to set. And honestly, it's even more than what you need. You can still show up to set. The main things you need to know is how to step on your mark and not miss it. Because that is a big deal. A lot of times with green actors we get nervous, right. And we're not sure we can't see what's front, back, side to side. And that little speck on the floor is very, very small because they are doing a wide shot and they want to make sure that they don't get the speck on the floor and you miss it every single time. So you do need to know how to step on your mark. You also need to know that they are going to tell you every single place to go so you don't have to worry about controlling it at all. Yes.

[Sam Valentine]

If it's a set you're being paid decently for, yes, you will have a handler walk you everywhere. And I wish that I would have said this is actually my first time on this style of set. They don't have to know that it's your first TV or commercial. They don't have to know it's your first anything. But you can say, this is my first on this style of set. And actors would have been so excited to have been the me for me. They would have been so excited to like take me around. I mean, you know, you get a bad apple here and there, but on the whole they would have loved the opportunity to have been the smartest person in the room.

[Gabrielle Benloss]

Yeah.

[Sam Valentine]

And to have shown me around.

[Gabrielle Benloss]

Because you just said it like so easy. Because I just thought about this. I didn't know when I first started showing up to set that that was possibly an actor as well. I assumed somebody who was showing me around a PA was like creme de la creme. Like I was so small pickings. And oftentimes people that are PAs on set are often actors or they're directors in the making. They're doing the same thing that we're doing. They're also trying to do their very best work so we can get noticed and they can move up in the ranks so they can see eye to eye of like, oh, wow, let me help you out. Because it's also going to help them out. They got the actor exactly where they needed to be.

[Sam Valentine]

So that.

[Gabrielle Benloss]

And then also understanding that the call sheet does not have to be sent until 12 hours. I got booked. It's going to be within two weeks. I got to keep my phone near me at all times because I might be needed today.

[Sam Valentine]

I would panic. Especially because if I had a 10am call time the night before at like 6pm I would think like, oh my God, I haven't gotten yes, the call sheet yet. Like, what if they forget to send it to me? And I would call my agents and text them and they said they'll send it. And one time I did get one with like an eight hour notice.

[Gabrielle Benloss]

Okay.

[Sam Valentine]

But we knew that they were in between episodes and like it was going to be.

[Gabrielle Benloss]

They were, they were like that one time and all the time.

[Sam Valentine]

But it's always going to come late the night before because there's so many other moving parts. And if I would have said, this is my first booking, I'm a little nervous. People would have handled that so well. I was already on the set. I didn't have to pretend to be.

[Gabrielle Benloss]

Something I wasn't, you something else.

[Sam Valentine]

You were already there, learned so much more. And I think I lost out on a lot of money because I didn't understand where the Cameras were, and where my face was, I was cut out of a car commercial. I didn't turn my head. And this would have been on me.

[Gabrielle Benloss]

Yes.

[Sam Valentine]

They said, sam, at this time, pass the basket across the picnic table, whatever. But if I would have just put the basket in front of me instead of to the left of me, because the camera was on the right side of my head, if I would have turned that was on me to do, I could have done it sooner and I wouldn't have been cut out of that national commercial. But I was. And so you couldn't see my face. So they paid me my day rate, and they didn't have to pay me.

[Gabrielle Benloss]

They didn't have to pay. And they were like, yes, we don't have to pay her.

[Sam Valentine]

Exactly.

[Gabrielle Benloss]

We saved a bunch of money.

[Sam Valentine]

And whether or not they did it on purpose on set, I don't know. But there was like three or four of us who were principal, and I ended up right behind the main spokesperson. And I turned to pass something and I got cut out. And so because of that, I lost that on so much money because I didn't understand that a lot of the times there is only a few shots, especially there's a spokesperson, they're going to go like 180 degrees around that person, and they're going to move on very quickly because it's very expensive. And I missed out on money because I thought that there would be more to it than a setup or two. And I just was turned the whole time and I didn't know, and I lost out on money.

[Gabrielle Benloss]

How would you tell an actor now, in that scenario, be able to communicate no matter what?

[Sam Valentine]

I would have my shoulders to camera.

[Gabrielle Benloss]

Shoulders to camera the whole time. It's like shoulders to camera.

[Sam Valentine]

Yep. If your. If your shoulders are like your headlights, the tops of your shoulders are your headlights. I would keep my headlights pointed to camera. I remember when I shot Bosch, I had this scene where the guy had to grab me by my neck. And he asked before he put. You know, we walked through it and like, what are you comfortable with? What works for you with the director and everybody? And I said, you can put it wherever you want, but don't block camera. And everyone on set laughed. And I turned and I said, I've been cut out a lot of shit, guys. I learned that lesson. And so instead of grabbing me by the face, he grabbed by the neck, which ended up looking cooler.

[Gabrielle Benloss]

It did look way cooler.

[Sam Valentine]

And then it didn't block camera. And then they got the perfect shot.

[Gabrielle Benloss]

And it's such a good piece of.

[Sam Valentine]

My reel because I micromanaged the situation, and that is something that is really hard to do if you don't feel supported in your acting career.

[Gabrielle Benloss]

So the good fix there is to make sure your shoulders are cheated towards camera. If you do especially like on a commercial set, sometimes it can be a little bit easier to speak up because everybody's just there for that one day. It doesn't feel like you're walking into something new. If you feel comfortable, you can always ask the PA that you've been walked on the set with.

[Sam Valentine]

It was nearby.

[Gabrielle Benloss]

What does that stand for?

[Sam Valentine]

What are you talking about?

[Gabrielle Benloss]

What does PA Stand for?

[Sam Valentine]

Production assistant.

[Gabrielle Benloss]

I was gonna say personal assistant. Yep.

[Sam Valentine]

Another type of PA okay, okay, okay.

[Gabrielle Benloss]

Production assistant. There you go. Good job. See? There you go. How many years have I been doing this?

[Sam Valentine]

So you just say pa you forget.

[Gabrielle Benloss]

I've just said PA There we go. That's a great way to be able to showcase to you guys. But if you're feeling comfortable on the commercial site, you can always ask the production assistant that walked you on. Hey, can you tell me what the framing is for camera? Can you do that? You can ask makeup, especially, because they just looked at camera and they've just made sure they just saw that there's a blemish. They walked over to you. Hey, what's the. The camera framing? You can ask them. Sometimes they'll even take a picture and show it to you because they're taking it for their own. So there's a couple other people you can ask without having to, like, look to cam and be like, excuse me, what's the framing? Because I get that that can be hard. I actually, this is a fun story on that one. Had somebody look out for me on Doom Patrol. You can see. I think it's actually in my reel now where I, like, recognize this superhero. I have a whole damsel in distress moment because that sounds just like Gabrielle Benloss, a damsel in distress. And the actor walks past, past my left shoulder, right? He, like, walks past me. He's like, you can call me whatever walks past. I continue to keep my head straight. Like four, five, six takes of this. I was just like, okay, he walks past. It's his camera. The camera was on him. They already got my footage of it, so I just stayed straight. One of the camera ops, bless this man literally said, hey, when he walks past you, look over your left shoulder. And I literally said back, oh, but it's not my shot. And his exact words were, it's all always your shot. Turn to cam.

[Sam Valentine]

That's so good. He. I love this person saved me.

[Gabrielle Benloss]

And what cut did they use? They ended it on my face and not his face. And he's the lead of the show. Literally says, oh, you can call me whatever walks past me. That scene ends with me looking over my left shoulder, astonished that I was just saved by this heroic man in the moment. That's how you know I'm a really good actor anyways.

[Sam Valentine]

But the brilliant thing is you did take away from the lead. And there's such a line of serving the story and serving the characters who are the originals on the call sheet. But also, it was something your character would do. It made sense for the story. You were astonished by this person. It only made them more interesting because it was the look of the person who was impressed by them.

[Gabrielle Benloss]

They got the reaction from me to be able to build up how important that character was.

[Sam Valentine]

Yes.

[Gabrielle Benloss]

Versus me looking over my shoulder and being like, oh, oh, oh. This would have been it. Tearing up because he saved my life when it did not need that. That's about me. Exactly.

[Sam Valentine]

Because it wasn't about you. It was about them.

[Gabrielle Benloss]

Yes.

[Sam Valentine]

If you can do that without adding a line without making it about you, without coming back and making your emotions internal, that is huge.

[Gabrielle Benloss]

That's huge. Let's do one more little bit.

[Sam Valentine]

One more takeaway.

[Gabrielle Benloss]

One more takeaway. We did an audition one. We did an on set one.

[Sam Valentine]

Let's do. Do you have something about, like, speaking with agents or something?

[Gabrielle Benloss]

You are in my brain. It's like we've been in the car already for four and a half hours. Yes. I was thinking about something about speaking with reps. Oh, I've got it. Not wanting to do an audition. What do you do, Gabrielle?

[Sam Valentine]

Why would I ever want to not want to do an audition?

[Gabrielle Benloss]

This goes right back to what we were talking about, the very beginning of fear and scarcity mindset. Now, the disclaimer here, if you are just starting out, an audition does not break your values or your morals. It doesn't put you in a compromising position that might be too emotional for you that you'll have to go to therapy for afterwards. It's not with crappy people because they give you bad vibes. Like, let's use our common sense here. If your gut does not feel like that audition is right for you, you can decline. You can say no. Do you want to make it a habit? Absolutely not. But if for some reason you read the script and there's something in it that you don't care for, get out, don't do it. I have had a lot of people reach out to me, even from the membership that have said, hey, this scene requires nudity. I think we have one recently and I'm not sure it was from one of our younger actors that graduated college recently. The scene required nudity. She just signed with a great agent and manager that she's got good communication with and she wasn't sure if she could decline it because she didn't want to do it. So she was saying, like, should I ask them what nudity it is? What if it's this? What if it's that? That way when you get on set, you're in the clear and they can do whatever they want to do. If you're uncomfortable with that, say no. If your agent or your manager says, well, we really should do this one because it would be good to get out, leave that person, because they're not actually respecting your personal boundaries. Now, if you're just saying no because you don't think the role is big enough for you, my request would be, are you at that level to be able to demand that and are you okay with that project never seeing you again? Because there are projects that I won't do that I've done a million and one times already that I do say no to now, after having six times played a pregnant wife, I don't need any more pregnant wife footage. I have also mentored actors that have done two co stars and now say, I'm not going to audition for co star anymore. I'm ready for guest star. Now that's an extreme example where I would actually encourage you not to decline co stars.

[Sam Valentine]

You can be ready for guest star and still auditioning for co stars.

[Gabrielle Benloss]

Yes. In fact, three of my guest star roles came from originally co star roles that they beefed up to be recurring guest star roles. So you're shooting yourself in the foot by saying, I'm not going to do co star auditions anymore, Especially with the new way things are. So to wrap that up in a bundle, if it's against your morals, if you have a bad gut feeling about it, maybe you've heard somebody that's worked with that person, you know that they're not good. Even changing your views, it's not how you want to be seen in this industry. You can say no, even if this is your first year signing with a new agent or manager. And I would even add, maybe give them the reason so that way they can understand how to see you and how you see your business and not continuously submit you for roles that involve the F word that you don't want to say. Like, that's okay, guys, you can say no.

[Sam Valentine]

So our camera died and we're going handheld because we're switching things up a little bit. But continuing on. By the way, if you aren't subscribed to the YouTube, one broke actress on YouTube is hundreds of videos for you to watch and podcast videos.

[Gabrielle Benloss]

Wow, 100 hundreds.

[Sam Valentine]

Yeah, I started a while ago.

[Gabrielle Benloss]

I don't think I realized you had hundreds. Wow, hundreds of videos. You guys get the stuff.

[Sam Valentine]

But the question I had asked you before the camera got too hot was how would you send an email or how would you tell an actor to send an email if they were to turn down an audition about, for example, nudity?

[Gabrielle Benloss]

Okay, here's how your email would go. Short and sweet, to the point. Also, we want to make sure that we let them know why so that they can know for future auditions. Hey, insert agents message name here. Thank you so much for this opportunity. I really appreciate it. I'm going to turn it down because it involves nudity and that's just something I'm not comfortable with. I appreciate your submission. We'll get it on the next one. And send. You're done. If it's something not as comfortable as being able to say it for nudity.

[Sam Valentine]

Let'S say it's content you don't feel comfortable with, like domestic violence or something like that.

[Gabrielle Benloss]

Okay, so that's two different ways that you can go. You can choose to let them know I'm going to pass on this audition because it includes domestic violence content, which is something I'm uncomfortable with doing, or you can say it includes content that I'm uncomfortable with doing. So you can go either way if you don't want to tell them, and that's totally fine.

[Sam Valentine]

And it's not, I think we should pass.

[Gabrielle Benloss]

It is I'm going to pass. Notice I didn't say I'm so sorry at the end of it at all. You can be thankful and also still pass because you are thankful that they sent you the audition and you don't want any more that include those things. I would also love to end this with. If you are now questioning when you want to say no to an audition and you can't think of a reason to give them so that way they know in the future why not submit you? I would question why you're turning that audition down because maybe it is one of those more vapid reasons of. Well, it's just not big enough for me. So if you do end up finding yourself wanting to say no to an audition but you're not sure how to put it in the right way, maybe figure out if that's what's coming up there.

[Sam Valentine]

You should lean into your community more because not to really push home the membership, but this is such a big topic. We talk about like, am I crazy or is this a terrible audition? Or what do we think about this project? Or and we just group source. But I'm going to give you one more takeaway because you did so many. This one's going to be a little less of like a tangible. But I really wish someone would have told me that you didn't not book the audition because you went out with your friends the night before and you felt bloated or because you didn't do the right workouts or something to that effect. I spent so much time early in my career thinking that so much of what I did was so centered around my body. And while, yes, it is a visual medium and so I cannot tell you, it is not a factor. The tiny little things that annoy you. Like you had chips and salsa and margaritas with your friends and now you feel like you're bloated. That is not going to factor into you booking the job that is so far out of your control in so many ways. And if I could take that like 10 pound weight of stress off your body for just like a day, I would like to remove it for you because, God, it can take away so much from your audition.

[Gabrielle Benloss]

I'm glad you added that note in because I do not have the same struggles with my body that you have experienced your entire life. And I know there's somebody that's listening to this right now that was like, oh my God, I was beating myself up all week because I had a donut right before I recorded because I didn't know the audition was going to come in and quick turnaround. And I know that's why I didn't hear back. So we can't even see the part.

[Sam Valentine]

Of your body that you can't even see your organs. Like, what is it? And do you want to be hot bikini girl number two? Because let me tell you, I've been hurt and it was a huge waste of space. Don't turn out the audition if you don't turn down.

[Gabrielle Benloss]

Okay, go back to that.

[Sam Valentine]

Go back to that.

[Gabrielle Benloss]

Hi, insert agent. Same here. I'm not gonna do this audition because Sam Valentine said I don't need to be hot girl number two.

[Sam Valentine]

Hot bikini girl number two.

[Gabrielle Benloss]

Okay.

[Sam Valentine]

Yeah, I think we've. I think we've really rounded out and.

[Gabrielle Benloss]

Have to have rounded it out because, ladies and gentlemen, it's 108 degrees outside, and this car's AC has been on one the entire time. My upper lip is sweating. My pits are sweating. Hey, my hoo ha is probably sweating as well.

[Sam Valentine]

Can I just remind you that you wanted to get a convertible?

[Gabrielle Benloss]

I did want to get. But the air. The breeze. You know what? We're gonna cut the camera.

[Sam Valentine]

Breeze. It's 108.

[Gabrielle Benloss]

But we're driving 77 miles per hour. There would be a breeze.

[Sam Valentine]

There would be. No, we wouldn't. You wouldn't have the top down on the highway?

[Gabrielle Benloss]

Yeah.

[Sam Valentine]

Absolutely not.

[Gabrielle Benloss]

I just wanted an Audrey Hepburn moment. I was scarf.

[Sam Valentine]

I will get you it. I will hold a blow dryer in front of you in Joshua Tree in the background footage here, Dee.

[Gabrielle Benloss]

Doing exactly that.

[Sam Valentine]

Wait, write that down. Let's get it.

[Gabrielle Benloss]

We will write that down because that right there is a video.

[Sam Valentine]

Oh, my God.

[Gabrielle Benloss]

Close us out.

[Sam Valentine]

Sam, this episode has interested you in any way of feeling like you don't have people to talk to about these things, and you feel like little minutiae in your acting career. I would like to highly invite you to join the wait list for the membership because we are so specific with our community. Community. And we have so much going on in there in terms of a place. By the way, that's a dust tornado. Have you ever seen one?

[Gabrielle Benloss]

I was just, oh, my God.

[Sam Valentine]

Isn't that cool?

[Gabrielle Benloss]

Oh, my God. I have never seen a dust tornado in my life. I just saw it for the first time.

[Sam Valentine]

I didn't want you to get scared if you saw it crossing the.

[Gabrielle Benloss]

I would have gotten scared.

[Sam Valentine]

Thank you. But if you feel like you have no place to have these conversations, that is what we made the membership for. And the slack is where we talk back and forth all day so you don't have to open social media to try and connect with people. You can do it in a different place and on your own time and with your own things. And we have so many resources in there to make this job a little bit easier and take some of that heaviness of choice and decision and fatigue of being in it alone off your plate. And there is. There's just no reason that you shouldn't have an active actor community.

[Gabrielle Benloss]

So there's no reason you should be trying to do this career alone, get more money for it, or find somebody to go into business with and make money off of.

[Sam Valentine]

Speaking of, we'll talk about Side Hustle Academy next. Side Hustle Academy is in the membership. Like you're actually getting the best possible deal. Because we are including Side Hustle Academy for anybody who's a TM member. You don't have to pay for it. And it's going to be five times as expensive as tm. So why wouldn't you just get five months of TM if that's what you want to take and leave with? Like, I don't understand why you would do anything else, but that's fine.

[Gabrielle Benloss]

She really doesn't understand it. Ladies and gentlemen, I love. Get your ass on the waitlist if you're not already.

[Sam Valentine]

Okay, we gotta turn on this ac. Yeah, talk to you guys soon.

[Gabrielle Benloss]

Bye. All this time I will, I will put my heart on the line Nothing will stop me this time.