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Actors, Directors, and Producers

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Nature of the Work

Actors, directors, and producers create a visual and aural image
based on written words of a script in theaters, film, television,
and radio.  They make the words come alive for their audiences.

   Actors entertain and communicate with people through their
interpretation of dramatic roles.  Actors read scripts and decide
how they want to interpret their role.  Then they discuss their
ideas with directors and voice coaches on how to portray their
characters.  They rely on facial and verbal expression as well as
body motion for creative effect.  In some roles, they sing and
dance.  They also may use props and costumes to help communicate
their ideas.  Actors memorize lines and stage directions.  Most
actors also put on their own makeup.

   Only a few actors achieve recognition as stars on the stage, in
motion pictures, or on television.  A somewhat larger number are
well-known, experienced performers, who frequently are cast in
supporting roles.  Most actors struggle for a toehold in the
profession and pick up parts wherever they can.  Some actors
employed by theater companies teach acting in courses offered to the
public.

   In addition to the actors with speaking parts, extras, who have
small parts with no lines to deliver, are used in almost all motion
pictures, in many television shows, and in some theater productions.

   Directors interpret plays or scripts.  In addition, they audition
and select cast members, conduct rehearsals, and direct the work of
the cast and crew.  Directors use their knowledge of acting, voice,
and movement to achieve the best possible performance and usually
approve the scenery, costumes, choreography, and music.

   Producers are entrepreneurs.  They select plays or scripts, arrange
financing, and decide on the size of the production and its budget.
They hire directors, principal members of the cast, and key
production staff members, and they negotiate contracts with artistic
personnel, often in accordance with collective bargaining
agreements.  Producers also coordinate the activities of writers,
directors, managers, and other personnel.

   Employment in motion pictures and films for television is centered
in Hollywood and New York City.

Working Conditions

Acting demands patience and total commitment, because actors must
wait for parts or filming schedules, work long hours, and often
travel.  Evening work is a regular part of a stage actor's life.
Flawless performances require tedious memorizing of lines and
repetitive rehearsals.  On television, actors must deliver a good
performance with very little preparation.  Actors need stamina to
withstand the heat of stage or studio lights, heavy costumes, the
long, irregular hours, and the adverse weather conditions that may
exist on location.  When plays are on the road, traveling is
necessary.  Actors often face the anxiety of intermittent employment
and rejections when auditioning for work.

   Directors and producers often work under stress as they try to meet
schedules, stay within budgets, resolve personnel problems, and put
together a production that will appeal enough to the public to
succeed.

Employment

In 1992, actors, directors, and producers held an average of about
129,000 jobs in motion pictures, stage plays, television, and radio.
Many others were between jobs, so that the total number of people
actually employed as actors, directors, and producers over the
course of the year was higher.  In the winter, most employment
opportunities on the stage are in New York and other large cities,
many of which have established professional regional theaters.  In
the summer, stock companies in suburban and resort areas also
provide employment.  In addition, many cities have small nonprofit
professional companies such as little theaters, repertory companies,
and dinner theaters, which provide opportunities for local amateur
talent as well as for professional entertainers.  Normally, casts
are selected in New York City for shows that go on the road.

   Employment in motion pictures and films for television is centered
in Hollywood and New York City.  However, studios are also located
in Florida, Seattle, and other parts of the country.  In addition,
many films are shot on location and employ local professionals and
nonprofessionals as day players and extras.  In television,
opportunities are at the network entertainment centers in New York
and Los Angeles and at local television stations around the country.

Training, Other Qualifications, and Advancement

Aspiring actors and directors should take part in high school and
college plays, or work with little theaters and other acting groups
for experience.

   Formal dramatic training or acting experience is generally
necessary, although some people enter the field without it.  Many
experienced actors get formal training to learn new skills and
improve old ones.  Training can be obtained at dramatic arts schools
in New York and Los Angeles, and at colleges and universities
throughout the country offering bachelor's or higher degrees in
dramatic and theater arts.  College drama curriculums usually
include courses in liberal arts, stage speech and movement,
directing, playwriting, play production, design, and history of the
drama, as well as practical courses in acting.

   The best way to start is to use local opportunities and to build on
them.  Local and regional theater experience may help in obtaining
work in New York or Los Angeles.  Modeling experience may also be
helpful.  Actors need talent, creative ability, and training that
will enable them to portray different characters.  Training in
singing and dancing is especially useful.  Actors must have poise,
stage presence, and the ability to affect an audience, plus the
ability to follow directions.  Physical appearance is often a
deciding factor in being selected for particular roles.

   Many professional actors rely on agents or managers to find them
performing engagements, negotiate contracts, and plan their careers.

   To become a movie extra, one must usually be listed by a casting
agency, such as Central Casting, a no-fee agency that supplies all
extras to the major movie studios in Hollywood.  Applicants are
accepted only when the number of persons of a particular type on the
list for example, athletic young women, old men, or small children
is below the foreseeable need.  In recent years, only a very small
proportion of the applicants have succeeded in being listed.

   There are no specific training requirements for directors and
producers.  Talent, experience, and business acumen are very
important.  Directors and producers come from different backgrounds.
Actors, writers, film editors, and business managers often enter
these fields.  Formal training in directing and producing is
available at some colleges and universities.

   As actors', directors', and producers' reputations grow, they work
on larger productions or in more prestigious theaters.  Actors also
advance to lead roles.  Some actors move into acting-related jobs as
drama coaches or directors of stage, television, radio, or motion
picture productions.  A few teach drama in colleges and
universities.

   The length of a performer's working life depends largely on
training, skill, versatility, and perseverance.  Some actors,
directors, and producers never retire, but many leave the occupation
after a short time because they cannot find enough work to make a
living.

Job Outlook

Employment of actors, directors, and producers is expected to grow
much faster than the average for all occupations through the year
2005.  In addition, workers leaving the field will create as many
job openings as will growth.  Nevertheless, the large number of
people desiring acting careers and the lack of formal entry
requirements should cause keen competition for actor, director, and
producer jobs.  Only the most talented should continue to find
regular employment.

   Rising foreign demand for American productions, combined with a
growing domestic market fueled by the growth of cable television,
home movie rentals, and television syndications should stimulate
demand for actors and other production personnel.  Growth of
opportunities in recorded media should be accompanied by increasing
jobs in live productions.  Growing numbers of people who enjoy live
theatrical entertainment should continue to go to theaters for the
excitement and aesthetic appreciation.

Earnings

Minimum salaries, hours of work, and other conditions of employment
are covered in collective bargaining agreements between producers of
shows and unions representing workers in this field.  The Actors'
Equity Association represents stage actors; the Screen Actors Guild
and the Screen Extras Guild cover actors in motion pictures,
including television, commercials, and films; and the American
Federation of Television and Radio Artists (AFTRA) represents
television and radio performers.  Most stage directors belong to the
Society of Stage Directors and Choreographers, and film and
television directors belong to the Directors Guild of America.  Of
course, each actor or director may negotiate for a salary higher
than the minimum.

   The minimum weekly salary for actors in Broadway stage productions
was $950 in 1993.  Those in small off-Broadway theaters received
minimums ranging from $340 to $579 a week, depending on the seating
capacity of the theater.  For shows on the road, actors receive an
additional $80 per day.

   Eight performances amount to a week's work on the stage, and
additional performances are paid for as overtime.  Actors usually
work long hours during rehearsals.  Once the show opens, they have
more regular hours, working about 24 hours a week.

   In 1993, motion picture and television actors with speaking parts
earned a minimum daily rate of $485, or $1,685 for a 5-day week.
Those without speaking parts, extras, earned a minimum daily rate of
$99.  In addition, actors receive contributions to their health and
pension plans and additional compensation for reruns.

   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.  Therefore, many actors must
supplement their incomes from acting by holding other jobs.

   Some well-known actors have salary rates well above the minimums,
and the salaries of the few top stars are many times the figures
cited, creating a false impression that all actors are highly paid.

   Many actors who earn more than a set minimum per year are covered by
a union health, welfare, and pension fund, including hospitalization
insurance, to which employers contribute.  Under some employment
conditions, Actors' Equity and AFTRA members have paid vacations and
sick leave.

   Earnings of stage directors vary greatly.  The top money is on
Broadway $36,750 for a rehearsal period, which usually lasts 5
weeks.  Regional theaters paid directors from $3,415 to $13,595 for
a 3 to 5 week rehearsal period.  Small dinner theaters and summer
stock pay much less $685 to $1,311 per week but offer the most
employment opportunities.

   Producers seldom get a set fee; instead, they get a percentage of a
show's earnings or ticket sales.

Related Occupations

People who work in occupations requiring acting skills include
dancers, choreographers, disc jockeys, drama teachers or coaches,
and radio and television announcers.  Others working in occupations
related to acting are playwrights, scriptwriters, stage managers,
costume designers, makeup artists, hair stylists, lighting
designers, and set designers.  Workers in occupations involved with
the business aspects of theater productions include managing
directors, company managers, booking managers, publicists, and
actors', directors', and playwrights' agents.

Sources of Additional Information

   Information about opportunities in regional theaters may be obtained
from:

   Theatre Communications Group, Inc., 355 Lexington Ave., New York, NY
10017.

   A directory of theatrical programs may be purchased from:

   National Association of Schools of Theatre, 11250 Roger Bacon Dr.,
Suite 21, Reston, VA 22090.


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