Daniel Dupont Acting Policies are in place so that we all can make the most of our time together. Although I use the words workshop and class interchangeably, these policies encompass all meetings, appointments, tapings, etc.
GENERAL
Please plan to arrive a few minutes early so that you can get settled. Workshops will start promptly at the scheduled time. There is a saying in Hollywood – “If you are on time, you are late.” Get there early. Relax. Focus. Your attitude towards workshops and classes is a very strong indicator of how you will perform at an actual audition. DDA believes that your habits are your behavior and, “What you practice, you become.” The time to learn and practice is in class, not at an audition. Therefore everyone is expected to approach work in class just as you would an actual audition or your work on a set.
ALL NEW STUDENTS
At DDA, we believe we should prepare artists for the environment they will one day be working in. These “rules” below do not come from DDA, but are those followed by their future employers. These policies are intended to prepare actors, properly, for the way things work in the “real world”. Not applying these policies to your training would be very irresponsible, and akin to training you to play basketball without calling fouls.
During the registration process you received a confirmation email that your payment was received and DDA was preparing materials for you. Receiving material from DDA means your registration was accepted and your seat in class is reserved. Receiving material also means that you will perform in class and will be assigned a scene partner. Once scene partners are assigned it is important to be on time, and ready to perform off-book (no script in hand). Class no-shows without prior arrangements are very serious at DDA (see next section- Missing An Appointment). Please consider why DDA feels so strongly about this issue.
Contact DDA immediately if you think you might miss class so we have time to replace you so your scene partner has someone to work with.
Valid reasons for missing classes are:
This policy is in place so that actors understand the importance of developing good work habits and are trained like Productions, Agencies, Casting Directors and others, who put their careers on the line for Actors. Everyone expects them to behave professionally. DDA actors are trained as if class is a real job or audition, so professional habits are created and strengthened. Showing up on time and ready to work is critical to the production process, and Actors must understand and respect that process.
MISSING AN APPOINTMENT
The commitment mentioned in this document applies to all workshops, classes or scheduled time you are to meet with Daniel. Motion Picture projects are made possible by the commitment of all of those involved, and on average there are about 500.
DDA’s classes are set up to follow the same environment that the actors will be working in. Being late and missing class are considered blowing a serious commitment. Classes are to be considered booked SAG jobs. Actors must be accustomed to working their lives around the sometimes nutty scheduling changes that this business is known for. It is sometimes tough, but it is not impossible. For clarity sake, missing a class is if you don’t call or show up. Coming in late or leaving early is acceptable, but you must let us know ahead of time. Just like a booked job, a no call no show, will result in the actor being black balled. That means the actor may not work for the rest of that session and possibly even longer than that. If that happens on a real job your agent would likely drop you, the production company will surely remember you doing this, and add your name to the DNH list (Do Not Hire). If you feel you might have to miss a class for some reason, contact DDA asap, so we can try to replace you for that class and all will be well. In the event something occurs on the day of, or on the way to your class time, text Daniel as soon as you can, and at least let him know you will not be there. We will do our best to work with you and help keep you from ending up on any lists. Other than emergency type issues, DDA requires at least 48 hours lead time (or considered a no show). This is the only way to avoid our “list” other than you being booked to shoot a project during your class commitment time. Just know that we will follow up to confirm that, exactly the way your representation will. It is common for us to receive emails from actors weeks ahead of their class who are on hold for a shoot, letting us know there is a chance they may not be able to make it. Being pro-active really helps the entire process move forward and as expected and is seen as very professional behavior.
Film and television projects require alot of planning, and alot of trust that people will be where they said they will be, at the time they committed to, and be ready to shoot their scene.
DDA trains actors to experience the film business as it really is, so the habits created are the ones commonplace in the industry. He believes that booking jobs carries some level of stress, and having these “non acting” type tasks to be very familiar already, alleviates any stress that could come from them on shoot day. By you registering for a workshop, for example, you are committing to participate. That means, to show up on time and ready to work. All materials received must be ready to perform in front of the class and/or the camera, without any script or notes in hand. Movie sets, and even auditions can be really fun environments, but only if everyone, cast and crew, are prepared, focused, and ready to work.
This policy is in place so that people can rest assured that they will be working in a professional environment and their preparation and devotion to their craft will be respected and obliged by their partner, also being as respectful and disciplined as they are.
BREAKS
There will be short breaks (5 +/ – minutes) throughout the class and one longer break (15 +- minutes) at the halfway point. This will give everyone a chance to have a snack, go to the restroom, etc. Breaks will be long enough for a simple meal like a sandwich, or maybe bring something healthy you can snack on during the breaks. No eating or chewing gum is permitted while actors are working. However water/other drinks are ok as long as they are sealed properly and aren’t distracting — i.e. opening a can of soda while instruction or filming or coaching is taking place. Some water containers are made out of materials that can make noise, so please be considerate and respectful of your fellow actors.
CELL PHONES
Cell phones must be turned off during class and may only be used during breaks. Use of a cell phone may cause students to be asked to leave class.
PARENTS/GUESTS/FRIENDS
Parents and friends are permitted in the classroom during breaks to check on their children but will be asked to leave when teaching resumes. The lobby is available for waiting and there are also restaurants and bookstores close by. We ask that you do your best to not engage in conversations that could take their focus away from why they are at the class or workshop. Discussing homework, problems at home, the big game tonight, etc. are very disturbing to artists when they are trying to focus on their work. Please wait until class is over to engage in those types of conversations.
DRESS FOR CLASS
Dress in layers! I can control the temperature in the classroom to some degree, but dressing in layers or bringing a light jacket or sweater is advised. This gives students the option to add or remove layers. You may be moving around quite a bit, maybe even crawling on the floor, so dressing comfortably is important (shorts or dresses are not the best choice). Another thing to remember is you will be much “warmer” while you are up working. So the option to add a sweatshirt or light jacket after you work will helpful.
DRESS FOR SCENES
If your scene indicates you are a certain “type” of person, and you want to dress for that part, that is fine to an extent. Wardrobe, shoes and shirts mostly, that make you “feel” like the character are great choices to make. But do not come to class in fish scales and shrimp boots because your scene is on a boat. We are going to be working on your abilities as an actor, not a costume design. If you are playing a wall street broker, you may want to wear hard soled shoes, because it will feel different to you than a pair of flip flops. All actors will have a short time to change and get prepared before their scene goes up.
PROPS FOR SCENES
Props are welcome as long as they do not distract from the scene. They must be small and not dangerous (NO REAL GUNS, MACE, SWORDS, NOTHING LOUD, FIRE..etc). I have seen all of these in class before. Also, NO LIVE ANIMALS. I know how it sounds, and that’s why I’m saying it up front. Small, non distracting props. They also need to be important to your character or assist in the telling of the story. If they are not, it will appear that you want a crutch orto divert focus from yourself, and if so, you should re-think that choice.
WHAT TO BRING FOR CLASS
Everyone must bring headshots to their first class and a resume.
If you do not have a resume, you need to create one to attend class. Remember, every actor started with no credits on their resume. But they had a resume. You must have a resume. It may only have your personal information, training, and special skills and interests. If that is all you have done, then that’s all you have done. Meryl Streep had a resume like that once. Do NOT put things on there that you have not done or make up things. If you put skills, always put your skill level, such as beg., int, adv., etc. Those are there for casting to have something to talk to you about and get to know things about what makes you, you.
PRINTED COPIES
You are asked to show up to classes with printed or hand written versions of all notes, sides, scenes, and monologues you are working on. This may save you if your partner doesn’t show up.
QUESTIONS
Daniel will be available for a short time after class, not during breaks, to answer any additional questions that were not covered in the normal flow of the class. Any lengthy or detailed conversations are considered consultations and will require an appointment for career consultation, ie picking headshots, getting an agent, etc. For those issues, Daniel would not rush through them, but would rather teach you during the exchange so that eventually you will be able to have some experience with those things and therefore become accomplished at those tasks. It is far better for actors to learn things themselves than always having someone else make decisions for them and their careers.
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