After the second or third time I was told by a casting director that actors’ STARmeter rankings are taking on greater importance in the casting process, it finally made an impression. Sometimes I’m slow like that.

While researching ways to maximize my IMDB ranking, I stumbled onto a new web site that looks very promising.

NOTE: The information below is ONLY FOR ACTORS. Non-actors or anyone without an IMDB page will find this information of no use.

The site is called ActorLikes. The premise of the site is to take what most actors normally do, send our IMDB page link to casting people, directors, friends, acquaintenances, etc. one at a time, and put the process on this steroid called SOCIAL NETWORKING.

What if a group of actors agree to visit my page if I in turn will check out their IMDB page and LIKE it? Sounds kind of like a play on what we’re already doing on Facebook. We suggest links to films, shows, actors, etc. Having a consistent flow of pageviews and likes should increase and hopefully, stabilize, IMDB STARmeter rankings.

This has much more appeal to me than paying ‘some guy’ $40 a month to have his server farm hit my IMDB page. I can help another actor, they can help me.

So let’s get started. Here’s a link to my ActorLikes page. Please use this link to get there ’cause I get some kind of bonus points if you do. I don’t get any money. The site is FREE.

There is some tweaking you need to do once you join the site and start LIKING other actor’s pages. Be careful about filling up your wall (and your friends news feeds) with multiple IMDB links. I had to catch onto this after I got started. You can remove the post from your wall, but the link will remain under one of your INFO sections. As long as you have the link publicly visible, you’re good to go.

For those who might want to know a bit more about the IMDB STARmeter rankings and how they work, read on. Otherwise, hit me up on ActorLikes and my Facebook Fanpage Hit the LIKE button at the top of the Fan Page even if we are already Facebook friends!

So what the heck is the STARmeter, how are the rankings calculated and why should actors who don’t have multi-million dollar incomes, a posse and a harried PR flack care?

Here’s how IMDB explains things:

HOW ARE RATINGS CALCULATED? ” IMDbPro uses proprietary algorithms that take into account several measures of popularity for people and titles. The primary measure is who and what people are looking at on the public IMDb.com website.”

WHAT DO THE RANKNGS MEAN?: “Plain and simple, they represent what people are interested in, based not on small statistical samplings, but on the actual behavior of millions of IMDb users. Unlike the AFI 100 or Academy Awards, high rankings on STARmeter and MOVIEmeter do not necessarily mean that something is “good.” They do mean that there is a high level of public awareness and/or interest in the title or person.

So how does all this impact the everyday working (and often not working) actor? It means that you need people looking at your IMDB page on a regular basis to boost your ranking and to keep it from dropping into a black hole. And for most of us actors, the STARmeter ranking can fluctuate wildly over time, often over a short period of time.

My personal STARmeter ranking has gone from as low as 5,716 (pretty darn good) to as high as 630,618 (ouch). These ratings fluctuations in my case are from 1998 – Present. As of this writing my ranking is 40,065 (okay, but not great). This is where I should ask all readers to hit my IMDB page, cause I need some STARmeter love.

Given the apparently increasing importance of the IMDB and IMDB STARmeter rankings in the casting process, it behooves actors to at least monitor their IMDB page. The ActorLikes site looks like a tool that most actors will want to consider.

Here is a brief excerpt:

Show business is a difficult, time-consuming, and often disappointing arena. Many people take the time to hone their craft and become excellent actors, only to “wash out” and give up trying because of the many discouraging aspects of the business. … You could go a year, maybe two, without a paying acting job…

…I’m not trying to drop a heavy, wet blanket over all your dreams, but I am interested in whether you are CALLED to be an actor. Moses was called to lead the Israelites out of the promised land and give us God’s law. He faced quite a bit of rejection. He complained to God quite a bit. He was discouraged and depressed, but he kept on going. Why? He was CALLED by God…

For those of you not familiar with the HOSFU site, it really is a HUB for information and connections to the faith-based film industry.

I’ve been doing a lot of research over the past couple of months on faith-based film productions. As a Christian who is also a professional actor, I have a strong desire to participate in faith-based film productions. Over the years there have been many roadblocks to that end.

One of the biggest hurdles I’ve had to try to overcome and which still stands in the way, is the limited use of professional actors, members of SAG and/or AFTRA, in so called Christian films. Since there is a lot of debate on exactly what constitutes a ‘Christian Film’, I’ll use the term ‘faith-based’ film from here on out.

While there has been some acceptance of faith-based projects in mainstream filmmaking, it is rare. No doubt, where Hollywood sees a chance to make a buck, they will enter the market. That is sort of where the industry seems to be at this time. With the financial successes of projects like FACING THE GIANTS and FIREPROOF by Sherwood Pictures, companies like Lions Gate, producers of such fare as SAW, DOGMA, GODS AND MONSTERS and FARENHEIT 9/11 have moved into the family and faith-based arena with their Lions Gate Family Entertainment distributing such films as NO GREATER LOVE, a film that bears strong resemblance to fare one might see on the Hallmark channel, but with an overtly Christian theme and message.

These are positive signs for an audience interested in ‘family’ entertainment but particularly for an audience interested in faith-based projects that have solid, professional talent in front of and behind the camera.

So check out the blog post on the HOSFU site that is linked above. There is great information in the post. And great encouragement as well. As I’ve long told people who ask me if they should pursue a career in professional acting: If you can do something else and be happy and fulfilled, then DO NOT become an actor. If, however, not becomming a professional actor will leave a ‘hole in your soul’, then give it prayerful consideration. IF you are CALLED, you can’t and shouldn’t do anything else.

JOURNEY OF THE WORKING ACTOR

Screen Actors Guild Foundation and Screen Actors Guild are delighted to continue offering innovative “business of acting” seminars to Guild members across the nation at no charge, via live video stream on the Internet!

LifeRaft Live Stream allows you to participate online and submit questions to panelists every Tuesday, 6-8pm (PT) through April 27, 2010. To learn more about the program, view the current 2010 LifeRaft Live Stream schedule and to participate in these events online, simply visit the SAG Foundation LifeRaft Live Stream show page at www.sagfoundation.org All LifeRaft Live Stream events are available for later viewing here as well.

The next LifeRaft Live Stream event is:

Journey of the Working Actor
6-8 p.m. (PT), Tuesday, February 9

Join accomplished Los Angeles actor/author Michael Bofshever  www.michaelbofshever.com), along with his stellar panel of familiar-faced working actors, as he discusses a variety of questions pertaining to the many aspects of what it takes to succeed and live the life of a working actor. Topics to be addressed include the Foundation to Having a Career, Audition Know How, Life on Set, Agents and Managers, and the Art of Perseverance.

Michael has taken “Journey of the Working Actor” to over half the SAG branches across the nation and has garnered wonderful feedback – now, LifeRaft Live Stream is happy to share his professional insights with Guild members everywhere.

Guild members who wish to attend LifeRaft seminars in person may visit www.sagfoundation.org to register for seating at the events held at:

SAG Foundation Actors Center
5757 Wilshire Blvd., Mezzanine Level
Los Angeles, CA 90036
(parking will be validated)

Celebrating its 25th Anniversary in 2010, the SAG Foundation is proud to assist, educate and inspire SAG members in their careers, lives and communities. See you online!

Please note: If you are receiving multiple SAG Foundation notices you may have indicated a preference for more than one Foundation email region list. You may review and adjust this option at any time by logging into www.sagfoundation.org and viewing the “Email Notices” setting on your User Account page.

This is an excellent video from the SAG Foundation LifeRaft series that was originally available only to SAG members. Whether you’re putting together your first actor reel or getting ready to re-edit and add your latest credits, there is information here for you. Top industry guests including casting directory Gary Zuckerbrod and highly sought after editor Wayne Rawley of Secret Handshake Entertainment tell what they’re looking for in a demo reel and offer sage advice on how to avoid the most common pitfalls.

“GETTING YOUR ACT TOGETHER”
Demo Reels, Pictures, and Resumes

JANUARY 24, 2010 – Time: 4:00 – 6:00 PM
St. Edward’s University, 3001 S. Congress Ave, Austin, TX 78704
Ragsdale Center, Mabee Ballroom on 3rd Floor

Join the Austin Actors Conservatory for a candid discussion of what works and what doesn’t and learn how to market yourself in today’s climate.

COST: Members of the AAC: Attend for FREE. Please bring your SAG/AFTRA card for admittance (as a reminder all members of AAC must be paid up and in good standing with their unions). FREE for St. Edward’s students (must show student ID for admission) * Fans of the AAC: $20.00 *All others: $25.00.

Please RSVP for this EVENT:  AustinActorsConservatory at gmail.com

Moderated by Tommy G. Kendrick

Our Panelists Include:

Pictures and Resumes:

DAMON WILLIAMS – Former Casting Director for Ricki G. Maslar Casting; Ulrich/Dawson/Kritzer Casting – in Los Angeles, Damon is a recent transplant from Los Angeles, currently casting: “Twisted Proverbs”, “The Everyday Sun Tzu”. Past projects include: “The God Project”, “Going Postal”, “Manfest”,”The Year That Trembled”, “Black Hole”, “My Best Friend’s Wife”, Speechless”, “XCU: Extreme Close-up”, “Always Greener”. Damon is also a SAG actor, AAC Committee Member and 2010 Script to Screen Chair.

Demo Reels and Other Marketing Tools:

PAMELA WEAVER – Actress, Filmmaker, Film Editor. Another transplant from Los Angeles, Pamela has been performing on stage and screen since the age of 6 years old, touring with the “Weaver Sisters” at USO shows, private clubs, aboard ship, army camps. She has performed in over 100 stage plays on both the east and west coasts, 15 films and 6 television shows. In 2006 she went behind the camera learning film editing, shot her first documentary which is currently in post and creates demo reels for actors. Her first paid gig as a film editor and DP was working for ESPN in 2007. Between acting gigs and chairing the Austin Actors Conservatory, she films and edits virtual auditions and demo reels for actors, internet advertising.

JONATHAN GRUBBS – Film editor, motion graphics designer and published writer, Jonathan has spent the last 5 years editing at a boutique post production facility in Los Angeles where he worked on trailers and television spots for major studio film releases. He now freelance edits and designs motion graphics for television commercials for markets across the nation. His current plans are to expand into visual effects, feature title design and feature editorial in the near future. Past clients have included Universal Pictures, Sony Pictures, Paramount Pictures, major pharmaceutical industry firms, a rock band, documentary and a local Austin independent comedy.

What the Professionals That Hire You Are Looking For – How to Get Their Attention!

MARK LANE — Producer, Capitol Motion Pictures — In 2000, Executive Producer Mark Lane produced the independent Film, The Cure for Boredom, starring Judd Nelson, Seymour Cassel and the late Joe Vitterelli. Fusing all his talent and abilities, Mark went on to form Capitol Motion Pictures, focusing on the production of quality feature films. His feature, the comedy “Checking Out” starring Peter Falk, Laura San Giacomo, David Paymer & Judge Reinhold, was released in September, 2006. Mark’s present position in the film industry culminates years of expertise both behind and in front of the camera. Mark started out as an actor in New York, eventually producing and acting in over twenty off-Broadway plays. Following the path of numerous talented New Yorkers, Mark headed west to Hollywood where he quickly gained recognition working as an actor on such network television shows and feature films such as Hill Street Blues, McGyver, Capitol, Miss Lonely Hearts, Chud 2, Friday the 13th, Fire in the Night, Mass Appeal, Sex & Bullets. Desiring to expand his creativity, Mark began working behind the camera on numerous projects for the three major networks: ABC, CBS, and NBC; as well as for several motion picture studios, including: Paramount Pictures, Universal, Warner Brothers and Lion’s Gate, to name a few. Quickly, Mark rose to Producer, heading up three feature shorts for HBO/Showtime: When Angels Cry, Galatea’s Wish, and Hope’s Creek. He also produced and directed the nominated documentary, Our Father the Bank Robber. Mark studied acting in New York City under the tutelage of Lee Strassberg, Warren Robertson, Uta Hagen & Herbert Berghoff and Alan Rich in Los Angeles. The completion of two films this year ”Bittersweet” won highest honors this years at World fest 2009 Houston starring James Brolin & Kip Pardue and “Shadows” starring William Hurt & Cary Elwes are slated for release this year. The Tribeca Film festival has requested Shadows to have our world premiere for their festival this April 2010.

GARY CHASON, Director, virtually grew up in the theater. He and his two sisters, from the moment they could walk and talk, put on shows for family and friends. He studied classical ballet at Houston Ballet’s academy as well as vocal music, singing in the chorus of the Houston Grand Opera’s production of Tales of Hoffman. He took up directing at the University of Texas and set his sights on becoming an avant garde, experimental writer/director. He created Houston Laboratory Theatre in 1970 and directed an innovative Romeo and Juliet that received excellent notices. He produced and directed one of the most controversial stage productions in Houston during the Seventies: The Beard, an erotic one-act staged at an art gallery in the Montrose District. He also directed two of his original plays at the Equinox Theater: Charlie’s Ear and Denizens. He has had a distinguished career in motion pictures as a Casting Director and Dialogue/Dialect Coach. His casting credits include: The Last Picture Show; Paper Moon; The Getaway; Pretty Baby; and Paris, Texas. He has worked closely with directors Robert Altman, Peter Bogdanovich, Sam Peckinpah, Michael Ritchie, Louis Malle, and Wim Wenders. As a Dialogue/Dialect Coach he has tutored Jeff Bridges, Cybill Shepherd, Cloris Leachman, Brooke Shields, Tatum O’Neal, C. Thomas Howell, and Ann-Margret. His first feature film as a Writer-Director, Charlie’s Ear, won the Critics’ Prize at Mannheim and all the top awards – Best Film, Actor, Director, and Cinematography – at the IMAGFIC festival in Madrid. He produced The Trust, an award-winning feature film starring Karen Black and Sam Bottoms, and has produced, directed, and/or written numerous shorts: Mama Icy’s House; From Nowheresville; Ink on Paper; Little Beauties; A Few Letters Off; More Than Two Dollars, and My Name Is Jeffrey and I’m a Serial Killer. In the field of Corporate Training Videos his clients include Service Corporation International, Shell Oil, The American Bar Association, The Texas Young Lawyers Association, Liveris Digital Productions, Hoefler Associates, and The Escape School. His first book, Acting for the Real World: Notes on Television and Motion Picture Acting, will be published soon by FSE Publishing and his screenplays, Succubus Crystal, My Princess, and Faces of Stone, won, respectively, gold, silver, and bronze awards at WorldFest Houston. As an actor, he has appeared as a supporting player in the feature films Brewster McCloud, Zombies of Sugar Hill, Burger Wars, and My Best Friend is a Vampire. His first starring role as “Dusty” in the indie feature Dear Pillow has earned rave reviews in Variety, The Orlando Weekly, Film Threat, Indie Slate Magazine, and Playback St. Louis. He produced and directed Everything or Nothing, an HD feature starring Natasha Melnick in ’04, which was finished in ‘06. It was written by Sue Rock. God Thinks You’re a Loser, an HD feature he wrote and directed, was completed in 2008.

Still from Web.Files interview with creators of BMB: Dirty Bomb Diaries

We’re at the beginning of a new age of ‘television’ and ‘film’ production and distribution. Some of the old models of content delivery are getting some competition and some are likely to fade altogether. For actors and all creatives this new model offers some great opportunities. No longer will it be absolutely necessary to live in one of the major markets in order to work in and hopefully, make a living in, ‘the business’. Take a look at this interview, check out some of the episodes of this and other web series on strike.tv or your favorite distribution channel.

Alabama Moon Poster

But how many times have you gone to a film based on a book you love, only to be disappointed in the results? Too many, sad to say.

McCanlies, who directed from a script co-written by Key, had more than a few challenges with this project. Mix together a limited budget, a relatively short shooting schedule and a story that requires kid actors to carry the film and the ingredients for a less than stellar result are all at hand.

Not to worry. ALABAMA MOON the film more than lives up to the promise of the novel.

For those who aren’t familiar with ALABAMA MOON, it’s the coming of age story of an eleven year old named Moon who has been raised in the Alabama wilderness by his survivalist father, Pap. Pap, distrustful of all outside elements, particularly ‘the government’ has raised Moon in his own image – friendless, self-sufficient and able to live off the land. This is ‘home schooling’ in its rawest form. Moon can read and write, but he can also trap game, start a fire without matches and has a rudimentary knowledge of medicinal herbs. Moon has been raised to distrust anyone but Pap and to live on his own.

For years, Pap and Moon have inhabited a dense growth of Alabama forest that is owned by a paper company. When the paper company sells of a portion of the land to developers, their solitary world is threatened. Then the unexpected, and to Moon, the unbelievable happens.

Pap is injured in a fall, suffering a compound fracture to his leg. Moon does his best to doctor Pap, but he is a kid after all. With no medical treatment, the unexpected becomes the undeniable truth. Pap dies and Moon is left to fend for himself. In his final instructions to Moon, Pap tells him he has to get away from the encroaching development. Run from ‘the government’. Pap tells Moon to go west, preferably to Alaska where Moon can hook up with other people who are self-reliant and who ‘think like we do’.

Thus Moon is set off into a journey of discovery. A journey that quickly has him in trouble with the outside world. But a journey that brings him into contact with people his own age for the first time in his life.

ALABAMA MOON is something of a ‘throw-back’ film. The film is refreshingly free of helicopter searches, infrared scopes and and night vision goggles. This is a film that seems more in the mold of the classic Disney pictures that mined similar territory. And that’s a good thing.

McCanlies keeps the narrative moving at a brisk pace and elicits first class performances from a uniformly strong cast.

Jimmy Bennett, as Moon, has the acting chops to go well beyond the surface of this nicely written character and he delivers a first rate performance.

Casting of Clint Howard as Moon’s nemesis, Constable Sanders, was a stroke of good luck for the production. In the after-film Q&A, Howard told how he served as sort of an on-set ‘uncle’ figure to the child actors in the film. How lucky for them! Howard also discussed a conversation he had with Don Knotts not long before that legendary comedic actor passed away.

Howard described Constable Sanders as ‘Barney Fife on steroids”. Howard, a former child actor himself (duh!) , added just the right amount of off beat humor along with his character’s threatening impatience and lack of empathy for Moon without ever going too far over the top. Don Knotts would no doubt approve.

Rounding out the recognizable names in the cast, John Goodman brought just the right tone and, pardon the pun, weight to the character of Mr. Wellington, the new owner of the land where Moon and Pap have been living. At first, Mr. Wellington appears to be at the root of Moon’s problems, but instead turns out to be something of a guardian angel.

Supporting actors add mostly solid performances and all are more than ably supported by the outstanding cinematography of Jimmy Lindsey, a surprisingly rich score by Ludek Drizhal and sure handed editing by Mark Coffey.

The biggest disappointment of this production from a Texas-centric POV is that it was shot in Louisiana. ALABAMA MOON was filmed prior to the passage of the latest Texas film incentive legislation and the Louisiana incentives won the day. McCanlies has been quoted as saying he could have shot much of the film on his ranch in Bastrop. If only.

ALABAMA MOON, the production, is in some ways a good template for filmmakers who must contend with modest budgets.

Start with a good story. Add a solid screenplay that has at least a few roles that are so engaging that they can attract name talent for a limited number of days work.

If you somehow manage the first two, add a director who can do good work while working at a fast pace. If you’re really looking at this as a template, you might want to avoid a story with child actors. You’d have to be really lucky to pull together a group of young actors who will perform as well as those in ALABAMA MOON.

For all of you who wonder where all the good family films have gone, look no further than ALABAMA MOON. Hopefully you can look no further than your local multiplex.

In a move that makes one wonder about potential distribution of this terrific family film, the producers have set up an online petition where fans of the film can use to urge American distributors to pay attention to ALABAMA MOON. Link to the petition HERE.

Hopefully, the presence of Goodman and Howard along with the strong following for Watt Key’s novel will result in the distribution this film deserves.