Meet Francene

by Patricia Tallman

(Reprinted from Casting Networks Newsletter, Dec. 07 and Jan. 08)

Francene Selkirk-Ackerman has been a Commercial Casting Director for 20 years.

For the past 5 years, she has been casting half-hour television improvisational comedies for Bravo, Fox, Oxygen and NBC while also casting a bazillion commercials! This year, Francene did casting for Comedy Central's, "The Naked Trucker and T-Bones Show", and other TV projects such as FOX's unscripted improv comedy "Free Ride", and the sleeper hit "Significant Others", on Bravo.

Always on the cutting edge, Francene has extended her talents to a variety of different projects from dramatic music videos to hard-hitting PSA's and interactive internet games. Franny teaches young actors and adults at Talent To Go & Judy Kain at Zydeco Studios in Studio City.

Her background is intriguing, and I think it's always important for actors to understand where casting professionals come from and why they are in the business that they are in.

P: Where are you from?

F: I grew up in Astoria, Queens, New York … we're not going to talk about age are we? (Laughs)

P. Noooo.

F: Good! I grew up going to public schools. I always had a flair for drama and got into the High School for Performing Arts. It was an exciting period of time; I did a lot of traditional theatre and avant-guard theatre. I made it into the New York City Theatre Workshop. They auditioned kids from all over the city. I had to sing (I have an ok singing voice), act and dance. It was sponsored by the Council of the Arts, and we were trained by people from Julliard, The Open Theatre, The Living Theatre, and African Dance teachers, it was unbelievable! I did that on the weekends and was trained during the week after school. We did a lot of amazing improv, like the Viola Spolin technique which was the popular in America at the time. We did an exercise called, "Sound and Movement", to express a situation. It really helped me to be comfortable in not having words. I use this technique in my auditions today.

I went to Pace University. Our class was the first drama class at Pace. I traveled around doing summer stock, bus and truck…so my background is very strong in theatre, which I now rely on when casting. I also worked as a waitress…I rely on that too! (laughs)

After college, I went to Europe and traveled, but I always planned on going to California. When I arrived to Los Angeles, I met this guy (I later married him!) who said to me, "You need two things: 1. Try being a Production Assistant and 2. You need to get into the union if you really want to be in this business seriously."

I had a friend who was a 2nd A.D. and she helped me get into the union through extra work. My future husband, Steve Akerman, was a gaffer on commercials and he got me a PA job at N. Lee Lacy & Assoc., a bustling commercial Production housed here in LA. I liked it. I worked my butt off 14 hours a day and I had some control over my life, plus I could sneak off to do auditions.

I moved myself up in that career and became a line producer in commercials, low budget films and music videos. I did that for about 10 years. Then I had my first child and producing commercials on the road seemed less appealing.

I was still occasionally acting but I was phasing that out. This director I had produced for said, "I think you'd be really good at casting." He was very intellectual and a lovely guy, but he didn't really communicate with the actors. I'd go up to the actors and say, "What he really means is…" and tell them in terms an actor would understand. He was a good director but he didn't have the language, and I think he saw that I did. He gave me my first 3 jobs and I haven't stopped working as a casting director since then. That was 15 years ago. Mick Dowd, a Commercial Casting Director, helped me a lot. We had been Production Assistants way back when and remained friends ever since. He asked me to do some ‘real' people casting for him. Any job he didn't want, he gave to me and I am forever indebted to him for that. People realized I knew acting. Producers would ask for a real taxi driver and I knew actors who were so good, they seemed like the real thing. I got known for that.

P. So you are a casting director who was an accomplished actress. Can you tell us how your understanding of an actor's process plays out for you during a work week?

F: My experience really serves the actor. This place is very actor friendly. I make it a point to work the waiting room when I can. Sometimes I can't get my work done because there are so many actors coming in to say hi. I have a relationship with a lot of actors. Not necessarily going out for coffee but I know about their children. Anybody who comes here knows they can bring their children. I let the kids watch their parents on the monitors. We have crayons everywhere. This is my home! I have couches instead of chairs for the clients. I want everyone to be comfortable. I paid a friend of mine, (who is an art director) to decorate. I love New Orleans! I had casted there a number of times, so that was my inspiration.

In terms of making actors comfortable, I think it comes from the top. A lot of the times nowadays, and I love them dearly, but a lot of the directors & producers don't lift their heads out of the computer! They know what is going on but maybe they are shy. They are doing what they have to do, but it doesn't help put the actor at ease! I guess that's what I feel I do.

I tell the actor not to expect any reaction or interaction, just go in there and kick butt! If you have a question, ask it.

I know what an actor needs. I know not to throw an actor off before a callback. I want the actor to succeed. It helps me when they succeed. That is being really prepared. It doesn't mean being conservative in your audition. It means having years of study. A lot of commercial actors- let's not say a lot...let's say some. There are some who aren't studied. They think they have a good look and maybe they do! But they are not taking it seriously. I have people come up to me everyday who say, "I have a friend or family member who wants to be in commercials." And I say, "Well that's very nice but are they going to commit 5 years? and are they going to study? Because I am not interested in helping and getting someone an agent who isn't a real actor." I'm not.

P: That makes sense, look at your background. You know what it takes. You see it everyday. You know the difference.

F: Yes! I am amazed at how many actors cannot improvise at all. I am amazed at how actors do not see themselves clearly. I learned that from the classes that I do here. People will fight with me! I go out and do the free seminars at SAG to give back to actors. I'll have a whole bunch of pictures and I'll give feedback to them. I am always very kind. But I am amazed! I can't tell you how many times an actor argues with me about how they see themselves. In my classes and seminars, I always say "give me 5 parts in commercials or TV shows that has a character you could play". If you cannot do that, then your agent can't.

You may say you are an individual, that's baloney. If you can't see yourself as a person who is on this planet, then what are you going to do? You can be an individual teacher, subway worker, valet, or computer technician…but you have to see yourself in the characters on TV clearly.

P: How does an actor make sure they are seeing themselves as they are? Ask friends?

F: You can find it all on television and films. You are going to watch these programs or commercials with a reality in mind. I have had people in class say to me "I can play a Jane Seymour type." No! Absolutely not. You are not going to play a movie star. You are going to be a doctor, a person! It doesn't matter if you are heavy set or not white, there are parts for everything out there! Quite often, they change their mind! It happens everyday. It's just more important that you are comfortable with yourself.

P: You can read that.

F: You have to hone in on what you are and sell it. You have to make choices.

P: It's really important. I hear it all the time. It's something we do everyday in Talent To Go. We help actors find roles that they can clearly play. That's what the casting directors want from us- they want the actors to walk in doing scenes they are right for. This is a question we have to answer everyday. Judy Kain calls it "finding your most castable self". She teaches this in class! It's tricky.

F: Everybody has a little bit of denial. I wanted to be the ingénue. I am the comedy character gal! Ok? Get over yourself! It doesn't mean I am not attractive. It means I am the best friend, not the leading lady.

P: It also means if you are clear about this and you hone it, you will work more. We can stretch in acting class, in the theatre, but in TV and Commercials we have to face the reality of the type.

F: Exactly. We also change over the years. You have to be honest about it. I have a friend, an actress who is my age. She is a great actress, and had a good career playing the ingénue parts, but as she aged she didn't accept it. I was so frustrated with her! She has a little quirky quality that I thought would work for her as she grew into it. She didn't want to listen to me! When she was finally honest with herself and embraced it, she worked a lot again and has a terrific career now.

P: You are unusual in that you cast commercials and have built a name for yourself in comedy television as well! How did that happen?

F: One of the directors who used me in commercials a lot brought me along. He was trying to sell a comedy project. He asked me to find some improv actors. They shot it here at this studio with fabulous actors who worked for us for free! It took him years but he finally sold it. Honestly, I didn't think the network would buy me. Even though I worked for years in commercials and even though I worked with heavy weight directors, you didn't cross over much in those days.

They had confidence in me because I knew everybody in town. I went to shows, I watched comedy, and I loved actors! I have done a lot of everything, not just comedy. I work with models, industrials, spokespeople, heart-wrenching PSA's…everything! But working on this show was a big step along. I was so excited and scared out of my boots.

The show was "Significant Others", and the director was Rob Roy Thomas. He believed in me. I took a lot of people and I brought them from commercials and into television. Some of them had some TV credits and had been kicking around for a few years. I was thrilled to be able to give them this chance.

P: You just shot a pilot on your own! That's the entrepreneurial side of you. That goes back to your skills as a line producer. You know what to do.

F: I have done all the jobs. I have done hair and make up, I've assisted with scripts, and I did wardrobe for a while. I have done everything as I moved up the ladder to line producer. I guess I like this job! I could've picked any one of these choices to settle in.

Something happened after my daughters went off to college. I came up with an idea, and my husband who is a DP and writer, helped me create a script. We came up with a treatment that we thought would be 5 minutes, we shot it with actors I know and love here in the studio. It turned out to be 20 minutes! Now we are in the shopping it around phase. It's very, very exciting.

P: Let's talk a bit about audition technique. I know headshots are a huge issue.

F: Oh, a HUGE issue.

P: A pet peeve of yours is when actors misrepresent themselves with their headshot. Mistakenly I am sure. Actors think they are doing the right thing. It goes back to how we see ourselves.

F: Yes. It could be a weight issue, where you've gained or lost weight, or the shot is 5 years old, or very glamorous. The pictures are extremely important. I look at the picture first. Then of course I look at the resume. There are so many actors who do not have their resume online. That's just plain stupid. I can't call you in if your resume isn't online.

You need a color headshot. I love the old black and whites as an art form. But now you need to have color.

You don't have to spend a fortune. It's so easy now to check out photographers, all their stuff is online! There are so many here on LA Casting to look at.

You need one main picture. That's the money shot. That will get you into the casting director's office. Yes, you can have many pictures online but you only need one great picture of you to get in the door. It should look natural, just like you would when doing your own hair and make up, and wearing a casual top or shirt. It should say something about you. Don't be too sexy, for instance, unless that's all you do.

I only do online casting.

You can have several pictures online that appear when I click on the main picture. (This is where the sexy look goes.) These photos should show your range. Whether it's you looking a little softer or maybe a little harder, the professional look or if you have a specialty like a sport. But don't have your main photo be the one in the suit, say, unless it says everything about you that you want me to know.

P: So the main picture is the one that really looks like you. It's the truth, how much you weigh, how old you are…

F: Yes, it's the truth and it should have a secret behind your eyes.

P: Something interesting going on.

F: Yeah! Pictures of the hokey past are gone, where people have hats and their mouths open wide in a goofy expression…"Hey check me out, I'm kooky!". We do want to know someone is funny. But when we see the Jerry Lewis pictures "Hey Lady!" expressions, it's a turn off.

If someone is in a show and they are a character, that's cool, or if you are a clown, that's interesting to look at. But being too broad is not in. Sean Hayes is very broad. I love him. That's one in a million. If you are an actor and have that sensibility, that's not bad.

P: Show that in your other picture.

F: Yes. Show that in the other pictures.

P: If you are that kind of actor, should you have that quirkiness in your main picture?

F: We do need to know that. You can have a bit of that in your first picture. If you are a quirky character person, or comedy actor, your picture doesn't have to be bland. I am not saying that. If you are off beat, we need to see it. Whether it's in your eyes, your face or if you wear glasses- have a picture like that!

P: But then the actor has to look like that coming in, right? They have to look like their photo.

F: The actor will know what they are coming in for. I always try to be specific with the agents. I have a casting coming up, where they want the person to look normal and be whacked! And I'll tell them when I call, "Come in looking Midwestern but throw some of your own stuff into the dialogue".

P: Even Sean Hayes has a very natural looking headshot. Yet he can be completely out there.

F: Yes, exactly. He gives you some options, and gives the casting person ideas. Oh, he's handsome and normal - yet look at this, he's funny!

P: I still see the ‘old school' photos out there. Actors in nurse's uniforms or suits, glasses, as a teacher or cop.

F: You know, I don't mind it to tell you the truth. I think it's ok for a sport, dance or specialty. I don't mind if they are dressed as a doctor. People do say it helps them get called in.

But here is one pet peeve of mine. We have this thing that actors can do, electronically submit themselves. I can submit a breakdown for something I am looking for, like a real police person. A lot of people submit. Yet, they are not real cops! They misrepresent themselves. I have suggested to LA Casting, that if this happens 3 times with the same actor that they should get knocked off the service. For example: When I think I've selected a group of submissions for this particular character, I move on thinking I have what I want and I end up not having it. If you say you drive a stick shift you better be able to drive a stick shift! If you have specialty, you should have it on your resume. But it better be the truth!

Also true with a valid passport. I tried to hire a person on a job. They said their passport was valid. It wasn't. I guess they thought they could get it in 48 hours. Now their picture is in my office with the mark, "Never bring in again!" I don't like to do that! But they made me look so bad to my client. It could cost ME a job.

P: There are new online services that offer a slate or a specialty skill on tape…

F: LOVE it. I love it because if I am looking for someone who has such a specialty skill like belly dancing or speaking another language, which does come up a lot, why not have it online on a service? It gives me confidence that you really can do the thing you say. If you are a trainer in a gym, show me!

There are services that can help you get your skills online. An icon will appear next to your picture on LA Casting that lets me know there is film on you.

If I am unsure about someone I will look their Skill Clip or reel to try and capture the essence of that person.

P: I see more and more that casting people are asking for slates. More pet peeves?

F: Actors are still coming in without pictures and resumes to a call back. And there are still some who come with out them being stapled! Then they ask my office staff for a stapler! Have one in your car!!! Don't ask my assistants to help you be prepared.

Another one: My office is actor friendly. But I am thinking of having a sign posted. "Don't interrupt!" Actors come into the office, they see me, and I may be on the phone and you wouldn't know it- I wear a headset- they will talk full voice interrupting what's going on.

Go into the waiting area like a professional and sign in, get your size sheet & sides, or you can ask an assistant for help if you have a question. I have people working there who can help you. They are going to assist you in helping you to do your best and make me look good too. I want actors to understand I need them to do their best, and they need me.

Be studied. Know how to be a good actor. Know the procedure. Work on your lines. I see so many actors come in and chit chat in the waiting room. Then they come into the audition and are not ready. A lot of times these are old pros. People sabotage their auditions by not being prepared. You are not going to ‘wing it'. It's not going to happen. Actors that are too busy chatting will miss information about the audition. Also, if you are not ready to go into the room, don't go into the room! Say, ‘hey I need a moment'. We know stuff happens and traffic is awful. Even if we say we need you now, tell them you have to go to the bathroom. You need to take your space as an actor. I know a lot of actors are afraid you are going to piss off the casting people. But you have to be ready to do your best. Take a second and go get ready.

Or don't sign in until you are ready. If you are late for the call back, just politely ask if they can wait a minute. Hopefully everyone is compassionate.

I would rather an actor call their agent and say they can't make an audition than just not show up. It leaves me in a bind if I am holding a space for you and it's a family or group audition. Even an hour before will mess me up. Let me know as soon as you can so I can adjust. There is lackadaisicalness in the commercial industry about confirming appointments, and that drives me nuts.

P: What gets you excited when you're in an audition?

F: I love it when people take chances. If actors just do the copy, I see that read a hundred times. We get 2000 submissions for every role. I pick 20 to 100. If you are coming in, you'd better rock. I picked you out of 2000 actors! Do something with that chance! Or don't come and make sure you give me ample time to replace you.

I love it when someone takes a chance and prepares something special. Like adding a button that wasn't in the copy. I teach that in my class. Many teachers do. You are paying us to give you great information. Judy is amazing, at what she is able to teach in our classes in six weeks. The information you receive! I get so excited when one of our students book a job. It makes me feel so wonderful. I had just booked an actress this week that took our class and booked a national commercial! I had booked her on her first commercial. One day she had called me and said I want to take your class. I laughed and said I think you must know what you are doing! She said, she ‘felt like she needed to know more'. So she took the class and booked a national! I think all actors should be in a class, any kind of class, as much as they can. It's like going to the gym, staying in acting shape!

This actress knows what her look is. She had a life going on in the audition and she took it seriously, made choices, related to her partner and her surroundings. She really stood out.

P: I have a question about how you deal with everyone in the room at an audition. I get a little overwhelmed with all the bodies in the space and am not sure if I am supposed to acknowledge everyone or what.

F: That's a very good question. First of all don't ever be rude. I hope we are never rude! I know we are under the gun, and sometimes we can be sharp. We expect you to come in, read the board, sign in and all that a professional should know. We do not need to be best friends but we can have a professional relationship. You need to help us get you a job. So we have assistants in the waiting room, we have a camera operator who may also be directing you in the session. These people may be actors. They are certainly extremely qualified and have worked at this for years. They have absorbed all the information that we need to get the most out of you. They don't have time to chit chat but they will let you know what you need to know. You can ask them questions. They will help you get to the next step. You want to treat them with as much respect as you would me. They may be casting directors one day. We all talk about how the day went. If you were rude, I will know.

Actors need to understand that there is so much technology involved. We are asked to take photos, upload to a website, sometime streaming as we go, certainly by the end of the day. There are four machines the camera operator needs to be running! That's why the waiting room is the most important time. Be ready for whatever is going to happen. Your agent may have told you something and it may have changed. Don't take that out on anyone. Be a professional and deal with it. I know, I sound harsh but we will notice how you handle yourself! They change my specs every half hour, seriously. We all are improvising!

If you get canceled off a call back it's not that you have done a bad job. Someone picked you originally! But they paired down their list and they changed it. Let it go. It's a bummer but it happens.

P: Is there anything an actor can do to market themselves that you particularly like or think is important?

F: I exclusively use LA Casting. I love the new Skill Clips. I had to have some athletes for a project. This actor had his specialty, hurdling, on his Skill Clip. It helped a lot. I use Breakdowns for theatrical. Most casting directors use LA Casting for commercials. Some theatrical casting offices are not online yet and like hard copies. Many use Breakdown Services. Actors should do all the things they can to be present in this business.

You need a reel. There are services that will help you. You need to be competitive.

Commercials are online. Yet, still walk into the audition with a hardcopy headshot. I send them to the director after the first round. The clients are here for call backs. Bring a headshot with you!

I also look at postcards if you are in something.

I know actors want to have a personal relationship with the casting director. It's hard and it may not happen! That doesn't mean we don't appreciate your work and professionalism. We are overworked and we just don't have time. I do try to say hi, but don't feel bad if I don't! I am working hard making opportunities happen for all of us. And I can't wait to have you book the job!