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how kids make money

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Tony
Your site is so great, it makes researching the business sooo much easier having all the info in one place! thankyou thankyou thankyou.
Amada, aspiring actress, Sydney, Australia

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Hi Tony!
Most people don’t even take the time to tell a person how to reach their goal. I want to thank you for everything and for responding to my messages. Sometimes I just test people to see if they really care about my career and you do. You can continue to send me some tips on how I can accomplish my goals, because you inspire me a lot. Thank you for caring.
Jeffrey, Dallas, TX

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Hi Tony!
Just wanted to say that this site is FANTASTIC! It's helped me quite a bit and it's now my #1 bookmarked item, which means I'm going to be visiting here regularly :) Thanks again,
Rob, aspiring actor, Canada

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Hi!
I absolutely love your site - it's SOOOO helpful and very impressive!
I am a frequent visitor and have signed up for the newsletter, plus I think it's so good I have recommended it to all my acting friends! Thank you for creating such a wonderful website!
Mischa, UK

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Wow Tony! I would just like to comment on how much you have affected my life.
First of all, any questions I have are answered extremely fast, and not only that, you give me a very helpful answer every time. Also, by reading your newsletters, I obtain just the right information that I need to succeed in the acting business. I am so happy I discovered your site, and I hope you know how much we actors appreciate you. Thanks again, and I can't wait to read your next newsletter!
Laura Doukas, Actress

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Tony,
I did what you said and…I got two interviews with two agents! Thank you! Sorry but can I ask you…how do I prepare to go meet the agent? What do I have to do?
Marsha P., New York, NY, USA

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This site has taught me a lot that I needed to know without dragging me all over the place.
Lauren, actress, Atlanta, GA

Using Props in Audition Monologues:
Should You Or Shouldn't You?
Interview with Personal Manager Ingrid French
Part 4/12

We were led to this conversation about the use of props in audition monologues by what we talked about in part 3 of this interview.

Tony: Do you like actors to use props when they come in to perform their audition monologues for you?

Ingrid: Props are fine, but I feel like for me that they are not necessary. If someone comes in with a lot of props, I tend to think that it might be because the work isn’t there, meaning that their acting isn’t very good and they want to use the props to distract me from that. I would much rather they focus on the acting rather than the use of props. If the props help them in some way then it is fine, but sometimes they are just a distraction.

Tony: How many audition monologues do you think an actor needs to have ready to be able to perform at any given time?

Ingrid: It all depends on what they want to do. If for example an actor truly considers himself a dramatic actor, then I would say he should have at least two dramatic audition monologues ready to go. If he is interested in doing both comedic and dramatic work, then he might want to have one to two monologues of each type. And he might even want to have some more monologues ready. The thing is, if you are performing monologues for a casting director or an agent, you might do one monologue, but you never know if they will ask to see something else, so it’s always good to be ready. So to answer your question, I think three to four is a good number of monologues that an actor should always have prepared and ready to perform.

Tony: Is there a difference between what kinds of monologues you ask actors to perform based on the area for example in which the actor wants to concentrate? If an actor says that he is interested primarily in working with you to be sent out on auditions for film, would you ask him to do a different type of monologue than if he were interested primarily in theatre for example?

Ingrid: Yeah, what I ask them to perform will differ in the case of this example, but when I ask for monologues, I tell them that it doesn’t matter to me whether it is from a film or a play or whether it is chosen from a monologue book. If the actor’s goal is to work in film, I would say that it would be best to choose one from a film, because the delivery will be different for a monologue from a film than it would be for one that has to be delivered on stage.

Something else to note is that when you do a monologue in an audition situation in a manager or talent agent’s office your space is so limited, so that even if it is a big theatrical monologue you will probably want to play it down a little bit because of the space.

In part 5 of this interview with Ingrid French she talks about why some actors get called back and offered representation while others do not.

If you are looking for books to help you with your monologue preparation, I can suggest these here below:

Also see here 12 common mistakes that actors make when performing their audition monologues and how to avoid them.

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