Universal Pictures "Fast Five" currently casting actors in Los Angeles

Universal Pictures and Original Film are full steam ahead on the fifth installment of The Fast and the Furious franchise and auditions are underway in Los Angeles. Shooting will run from June 28, 2010 through October 15, 2010 in Los Angeles, Atlanta, Puerto Rico and Rio de Janeiro, Brazil.

Vin Diesel and Paul Walker will reprise their roles and an offer has been made to Dwayne Johnson to co-star. Fast Five is scheduled to be released in theaters June 10, 2011. Local extras will be hired in all filming locations. Open calls will be posted here as they become available.

See the post titled Headshot and Resume Information regarding how to submit for acting roles.

Please submit photos and resumes by mail only.
No phone calls or personal drop-offs.

Principal Actor Casting:

Debra Zane
5225 Wilshire Blvd.
Suite 536
Los Angeles, CA 90036

Extras Casting:

Sande Alessi Casting
13731 Ventura Blvd.
2nd Floor
Sherman Oaks, CA 91423
Registration Info Line: (818) 623-7040

Production Companies:

Do NOT send photos and resumes to the production companies (they will most likely end up in the trash can), they do not cast the films. They hire casting directors who sort through the thousands of submissions.

Fast Five Production Office
100 Universal City Plaza
Bldg. 9128, Room D
Universal City, CA 91608

Universal Pictures
100 Universal City Plaza
Universal City, CA 91608

Original Film
11466 San Vicente Blvd.
Los Angeles, CA 90049

Producers: Neal Moritz, Tania Landau

Director: Justin Lin


Vin Diesel
Paul Walker
Tego Calderon
Dwayne Johnson (negotiations)


The story finds Dom (Diesel) and Brian (Walker) as fugitives being pursued by legendary lawmen.

Feature Film 'Dance of the Mirlitons' Auditions

*** Click Here for the new updated post ***

How to get Talent Agency Representation

There are two types of talent agents, theatrical (television and film) and commercial (for television commercials). Being with the same agency for both is called being "signed across the board," but many actors prefer to have separate agents for different types of work, become some agencies can be better commercially, but not as good theatrically, or vice versa.

Agents get information about auditions for roles, either directly from casting directors and producers calling them asking for client submissions, or from a service called "the breakdowns," a daily list of roles being cast, sent only to agents and managers.

Agents work for you, but they only get 10% of what you make, so that means you need to do 90% of the work - especially when you are getting started. That means always be professional, be skilled in acting, network and let casting directors, producers and directors know about your work & upcoming performances by sending out postcards & invitations, know your "type", and make sure you and your agent have an understanding about what kinds of parts you will be submitted for.

The Strategy:

Do not randomly stop by agents offices unannounced, they do not accept personal drop-offs. Avoid calling the office for now. Simply send in your 8" X 10" color photo and resume, along with a brief cover letter. Show the agents that you understand how valuable their time is by keeping the cover letter short and sweet. Far too many actors end up writing a long cover letter, and the agents end up just trowing it in the "circular file" aka trash can.

This is a sample of a good cover letter:


Savannah Starlet
4321 Superstar Street
Beverly Hills CA 90210

Attn: Mr. Agent

Enclosed you will find my photo and resume for your consideration. I am currently seeking theatrical (and/or commercial) representation. Please feel free to contact me at the above phone number or email address.


Savannah Starlet


Now the agent even has a few moments to actually look at the photo and resume!

Then after about a week, give them a quick call and just say your name, tell them that you sent in a photo and resume, and that you are calling back as a follow up. They will usually write your name down, and say that they will give you a call if interested, or we are reviewing it, etc. Again, just keep it short and show them that you value their time. They will be pleasantly surprised.

Say something like.....

"No problem, I don't want to take up your time, but wanted to make a quick call to see if you are interested".

They'll either be impressed (and relieved) at the brief conversation, or will be so caught off guard that they'll try to explain further. If they haven't said goodbye, then just repeat a variation of your previous words (always offering them a chance to end the conversation and reinforcing that you know their time is valuable). Agents get tired off so many actors calling and somewhat begging, "can I come in for an interview", or "I am very talented and would be a great addition to your roster". If you follow these steps, keep your letter and conversation brief, the agent will most likely appreciate it.

Many agents these days do not track submissions and will merely inform you of this when you call. Also, several of the top agencies do not accept unsolicited photo and resume submissions, they only accept new clients through industry referral.

Tips & Warnings

● Agents making their living by earning a percentage of each job they book for a model. Do not pay any up-front fees to an agent.

● If you're not happy with the number of auditions or bookings you are getting, set up an appointment with your agent and discuss what you can do to generate more jobs.

● If the agent lies to you, makes outrageous promises or asks for up-front money (to cover phone calls or mailing expenses on your behalf), keep looking. Legitimate agents do not ask for expense money.

How To Avoid Talent and Modeling Agency Scams

From my extensive experience in the Entertainment Industry, I have determined that the common denominator in almost all acting and modeling scams is upfront fees.

Research into U.S. laws to protect consumers has shown almost every acting and modeling agency law, regulation or rule ever enacted in America prohibits upfront fees. Precedent lawsuits against acting and modeling companies by federal and state government as well as individuals have invariably been filed against those which charged upfront fees.

One of the most recently enacted entertainment industry laws was drafted by a former child actress, who introduced the Advance-Fee Talent Services law. Sheila Kuehl did so at the request of Los Angeles City Attorney James Hahn, because his office had prosecuted modeling/talent scams cases in which "hundreds of parents paid millions of dollars in advance fees to frauds that promised that their children would become stars."

The legitimate talent agency does not charge a fee payable in advance for registering you, for resumes, for public relations services, for screen tests, for photographs, for acting lessons, or for many other services used to separate you from your money. If you are signed as a client by a legitimate talent agency, you will pay such agency nothing until you work and then 10 percent of your earnings as a performer — but nothing in advance.

The importance of securing legitimate and responsible representation cannot be emphasized enough. Agents who ask you for money up front, whether it be for a photo session, composite, head sheet or any other promotional tool, should be avoided. A reputable agent will not ask you for money until you are making money - booking work as a result of the agency has made for you. That is the time to invest in a composite and in the agency book and head sheet. Even then you will probably not be asked for funds up front. These promotional expenses will be deducted from future paychecks.

Things to Remember When Trying to Recognize a SCAM:

Agents do not advertise!
According to the indusrty's EIC Code of Ethics, talent and background agents cannot advertise to the general public.

Agents do not provide photographic services or give classes!
A reputable agent may suggest specific photographers or classes to you but cannot require you to use them.

Children and extras do not need professional-quality photos!
Babies and toddlers never need professional photos. Extras need to provide a snapshot to their agents. Children under the age of ten do not need professional photos unless they are working regularly.

An agent cannot guarantee work!
An agent who tells you that they have work for you must give you a copy of the signed contract along with the details of the job (who is hiring you, what you will be paid, etc.)

Agents are not casting directors!
Agents earn commissions when their clients work. Casting directors are paid by the production and never take money from performers for any reason.

Agents specialize!
Agents usually represent actors, extras or models. Be wary if the agency claims to represent all of these categories.

A principal agent will rarely represent you if you have no experience or training!
Legitimate talent agents usually require actors to have some professional training and some theater or film experience. Only background agents will represent inexperienced people who have no training and will generally try to get them non-speaking roles as extras.

Guidelines for working as a Film Extra or Background Actor

* Buy a Thomas Brothers Map Book. The Film Extras casting people will give you these map coordinates when giving you your call time and location.

* Bring a small folding chair, something to read, sunscreen, a couple of light snacks, a notepad, and two pens.

* Follow the wardrobe instructions and requirements, as you will be checked by the wardrobe department when you arrive on the set. Bring an extra jacket (even if it’s summertime). It's always cold on a sound stage, where you might be working. Ladies, take a pair of flats to wear when not on the set (your feet will thank you).

* ALWAYS show up at least 1/2 hour early. NEVER be late. Allow plenty of time for traffic, etc.

* When arriving at the location, immediately check in with the AD (assistant director), or whoever you were told to check in with. Fill in your name and address on the Film and Television Extras payment voucher. Make sure to fill in the hours worked and have the AD sign it at the end of the day.

* Never bring cameras or pets unless asked to do so. Also do not bring friends.

* NEVER take photos on the set with your cell phone. If caught, you will be fired and will most likely never work for that Film and Television Extras casting director again.

* NEVER ask for autographs or bother the actors. This is a professional work environment and not an appearance.

* Do not sit in any of the "director chairs". They are for actors, the director and designated crew only.

* Network with other background actors. If you obtain one good tip or referral, it could lead to a lot more background acting jobs. More work gives you more opportunities to get the necessary vouchers (three) to qualify to join SAG (Screen Actors Guild). Being a member of SAG gives you benefits you would not have as a non-union extra, e.g. double your pay and medical, dental and vision benefits.

* Always remain alert and ready to go to the set when asked. Do not leave the set unless you are given specific permission from the AD. Do not listen to headphones, as you will not be able to hear the AD when calling you to the set.

* ALWAYS be prepared to stay and work long hours (unless you are a minor, there are child labor laws which prevent minors from working too many hours).

* Pay attention when you are on the set being given your "marks" and "blocking". "Marks" are the spots where you position yourself on the set during filming. "Blocking" is the exact movements you will be making so as to remain in or out of the view of the camera.

* And ALWAYS remain quiet when in a sound stage, especially when filming. "Quiet On The Set" means "QUIET ON THE SET"! The microphones can pick up even the slightest whisper. Also, when the crew is setting up for shots, they need to be focused and hear each other. It can be loud enough for themselves, let alone the chatter of extras on top of it. So do not make noise or talk loudly in between filming.

* When you hear "Rehearsal is up", "Rolling" or "Action" you must be silent unless given specific instructions by an AD (assistant director) to do otherwise.

* "Cut" means the take has finished shooting, but you then may hear:

* "Back to one" or "First position" which means go back to where you were and repeat the action you just did as the scene is being filmed again. Valuable Film and Television Extras know how to listen to what the actors are saying or doing (without being obvious) and remembers what he/she was doing at the time, so that you can repeat your action when the same scene is being shot repeatedly or from a different angle.

* NEVER look into or at the camera. Instead, look above it, to the side, or away from it; whatever is the most natural eyeline for you in your position according to what the AD has instructed you to do.

* NEVER talk badly about anyone on the set, including the actors REGARDLESS of how you may feel about someone. Use tact when speaking about others. It is extremely poor character when speaking badly or disrespectful of or to others. If you hear someone else talking badly, ignore it. If someone speaks badly to or about you, just turn your cheek and do not return the bad character behavior, as the AD may end up only hearing YOU speak badly. Take this advice to heart if you wish to go far in the entertainment industry.

* When being fed lunch or dinner, ALWAYS let the cast and crew members get their food first. This is not because Film and Television Extras are less important, as many people who work on a film set may treat you. This is because the cast and crew need to get back to work as soon as possible, where the extras usually have by far the most "down time".

* And most importantly, HAVE FUN! There are huge egos on a film set. I mean gigantic monster stuck-up HUGE egos, and I'm not talking about just the actors! Take those people with a grain of salt... look at them as kind of like a cartoon character, then you can just smile at them. After all, isn't it pretty ridiculous to have a giant ego anyways? There are many people who will brag and brag about what they have done and what they are doing. There are long periods of standing and waiting. But hey, you are working on a movie or television set! How fun is that!! And you are learning about what happens on a set, becoming more and more comfortable in front of a camera. So enjoy the experience, as it can be VERY exciting.

If you take my above advice to heart and give Film Extra work your best shot, you'll enjoy it, make money at it and continue to work. And what's more fun than being with people, in the middle of the action and, later, seeing yourself on the silver screen?

Alan Baltes

The Actors and Performers Unions

SAG - Screen Actors Guild

Screen Actors Guild is the nation's largest labor union representing working actors. Established in 1933, SAG has a rich history in the American labor movement, from standing up to studios to break long-term engagement contracts in the 1940s to fighting for artists' rights amid the digital revolution sweeping the entertainment industry in the 21st century. With 20 branches nationwide, SAG represents nearly 120,000 working actors in film, television, industrials, commercials, video games, music videos and other new media. The Guild exists to enhance actors' working conditions, compensation and benefits and to be a powerful, unified voice on behalf of artists' rights. Headquartered in Los Angeles, SAG is a proud affiliate of the AFL-CIO. The Screen Actors Guild is associated with the Associated Actors and Artists of America (AAAA), which is the primary association of performer's unions in the United States. The AAAA is affiliated with the AFL-CIO. SAG claims exclusive jurisdiction over motion picture performances, and shares jurisdiction of radio, television, Internet, and other new media with its sister union AFTRA.

How To Join SAG

A performer becomes eligible for Screen Actors Guild membership under one of the following two conditions: proof of SAG employment or employment under an affiliated performers’ union.

1. Proof of Employment

a. Principal Performer Employment - Performers may join SAG upon proof of employment. Employment must be in a principal or speaking role in a SAG film, videotape, television program or commercial. Proof of such employment may be in the form of a signed contract, or original pay stubs. The document proving employment must provide the following information:
— applicant’s name
— applicant’s Social Security number
— name of the production or name of the commercial (product name)
— the salary paid (in dollar amount)
— the specific date(s) worked.

b. Background Actors may join SAG upon proof of employment as a SAG–covered background player at full SAG rates and conditions for a MINIMUM of three work days subsequent to March 25, 1990. Employment must be by a company signed to a SAG Agreement under which the Producer is required to cover background actors. Proof of employment must be in the form of original paystubs or a payroll printout faxed from the payroll house. Such documents must provide the same information (name, Social Security number, etc.) as listed above.

2. Employment Under an Affiliated Performers' Union

Performers may join SAG if the applicant is a paid-up member of an affiliated performers' union (ACTRA, AEA, AFTRA, AGMA or AGVA) for a period of one year and has worked and been paid for at least once as a principal performer in that union’s jurisdiction.

To join SAG, a performer must pay an initiation fee of $2,277, plus the first semi-annual basic dues payment of $58. Thus, the total fee to join is $2,335.

AFTRA - American Federation of Television and Radio Artists

The American Federation of Television and Radio Artists (AFTRA) is a national labor union representing over 70,000 performers. This was my first union. The first union that a person joins becomes your "Parent Union". Unlike the other performers' unions, anyone can walk in off the street and join AFTRA. This union is newcomers' and inexperienced actors best bet to become eligible to join the other unions. You still must obtain a speaking or "principal" role within AFTRA's jurisdiction at some point in order to join SAG or the other unions, but at least you can "buy" the membership without prior experience. AFTRA has jurisdiction over Soaps, many Sitcoms, news/sports/weather broadcasts, radio, sound recordings, talk shows, variety shows, documentaries, game shows, and various multimedia broadcasts. Once you obtain a principal role (speaking, stunts, dancing or singing), then you are "eligible" to join the other unions. But only after you have been a paid-up member of AFTRA for one year.

New members must complete an application and pay a one-time initiation fee and dues for the current dues period. The initiation fee is $1,300 and, as of November 1, 2007, minimum dues are $63.90.

AEA - Actors' Equity Association ("AEA" or "Equity"), founded in 1913, is the labor union that represents more than 45,000 Theatre Actors and Stage Managers in the United States. Equity negotiates wages and working conditions and provides a wide range of benefits, including health and pension plans, for its members. Actors' Equity is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions.

How To Join AEA

You may join the Association by virtue of employment under an Equity contract. Applications for joining Equity are only valid during the term of the contract. Certain contract types also have a length-of-employment requirement before a membership application becomes valid; the Membership Department will advise you at the time of joining.

Membership is also available by virtue of prior membership in a performing arts sister union (ACTRA, SAG, AFTRA, AGMA or AGVA).

* Applicants must be members of a sister union for at least one year
* Must currently be members in good standing of their parent union
* Must have worked as a performer under the union's jurisdiction on a principal or
"under-five" contract or at least three days of extra ("background") work

With your application, you must include a written statement from your parent union stating that you meet the requirements above along with a least $400 towards your Initiation Fee.

Equity Membership Candidate Program

This program permits actors and stage managers-in-training to credit theatrical work in an Equity theatre towards eventual membership in Equity. After securing a position at a participating theatre, you may register as a candidate. The $100 registration fee will be credited against any future Initiation Fee when you become eligible for membership. Eligibility under this program requires a total of 50 weeks of EMC work at participating theatres.

If you are joining Equity through the EMC Program, at least a $400 initial payment is due with your application.

All membership privileges, including the right to vote, attend meetings and Equity-only auditions, commence upon the initial payment of $400 towards the fee (currently $1100) within six months of the filing of your application.

AGMA - American Guild of Musical Artists, the labor union that represents opera and concert singers, production personnel and dancers at principal opera, concert and dance companies throughout the United States.

You may join the AGMA by virtue of employment under an AGMA contract. Membership is also available by virtue of prior membership in a performing arts sister union (ACTRA, AEA, AFTRA, SAG or AGVA).

AGMA has a one-time-only Initiation Fee of $500. This tax-deductible fee may be paid by credit card or by check. The total fee must be paid by the time your income from AGMA engagements reaches $2000, or three years from the date of your first AGMA contract – whichever comes first. Basic dues are $78 a year, paid in December for the next calendar year. Working dues are 2% of the member’s earnings up to a maximum of $2000 a year, and can be deducted automatically by the companies for which you work if you sign a check-off authorization. If you don’t authorize a check-off, it is your responsibility to make payments directly to AGMA.

ACTRA - Alliance of Canadian Cinema, Television and Radio Artists is a national organization of more than 21,000 professional performers working in the English-language recorded media in Canada. ACTRA represents artists working in feature films, TV, radio, digital media, corporate videos and commercials as dramatic actors, comedians, dancers, background performers, voice over specialists, singers, puppeteers, stunt performers - and more.

Membership in ACTRA is open to any performer who has enrolled in the Apprentice Membership Program and has attained six professional engagements under ACTRA jurisdiction, or has, in recognition of the barriers confronting the disabled and members of visible minorities, three professional engagements under ACTRA jurisdiction, or has membership in a sister organization (SAG, AEA, AFTRA, AGMA or AGVA).

In exceptional circumstances, persons who qualify according to the guidelines and interpreted by the ACTRA Branch/Local Union may be admitted upon presenting proof to the ACTRA Branch/Local Union.

If you hold at least one work permit (under ACTRA contract), you are eligible to become an Apprentice Member. This includes work permits for principal and acting roles as well as stunt but excludes work permits issued for background performing. There is a $75.00 initiation fee plus an annual fee of $75.00 that you would pay upon becoming an Apprentice Member.

AGVA - American Guild of Variety Artists is an entertainment union representing performers in variety entertainment, including circuses, Las Vegas showrooms and cabarets, comedy showcases, dance revues, magic shows, theme park shows, arena and auditorium extravaganzas, puppeteers, jugglers, etc.

You may join the AGMA by virtue of employment under an AGVA contract. Membership is also available by virtue of prior membership in a performing arts sister union (ACTRA, AEA, AFTRA, SAG or AGMA).

For more information, contact AGVA at 212-675-1003. Mailing address: American Guild of Variety Artists, 184 Fifth Ave., 6th floor, New York, NY 10010. (The union currently does not have a website.)

Actors Photo and Resume Information

I have been receiving some inquiries regarding what type of photos and resumes to send to a casting director or agent. Here is a sample of a professional actors resume and photo. The photo should not be a school photo, glamor shot, or a snapshot taken by a non-professional photographer. The photo should be 8" X 10" in size, the resume should be cut to the exact same size and stapled back to back on the photo. When you flip the photo over, the resume should be viewable on the other side. Do NOT paper clip the resume, but staple it on all four corners. Your name and any union affiliations should be printed on the bottom of the photo, either on the border or on the corner of the photo itself. That way if by some chance the photo does become detached from the resume, the casting director can match them up again. The photo should be color and professionally taken. Just remember that your photo is your calling card. It should represent the "real" you, the way you look in everyday life. If your hair is long in the photo, then your hair should be long when you walk in the casting office. If your skin is fair, then you should not come to the casting office with a dark tan. Always keep your photos up-to-date according to your look.

Also, there is no such thing as an "application" to fill out for acting jobs. Just the 8X10 photo and resume.

The photo can be taken either horizontal or vertical.

Sample Headshots:

Actress Kirsten Feher

Actress Cheyenne Logan

This is child actor Marcus Calderon, and he landed a national Disneyland commercial with this photo.

Sample Resume:

Click Here for a sample Beginners Resume.

One last note about your photos:

If you can't afford to pay a professional photographer to take your photos right now, you can try something else. If there is a school nearby that has a photography department, go there and see if you can do "testing". Testing is when you exchange your time posing for a photography student in exchange for them taking some theatrical headshots and giving you some prints.


Include a very brief cover letter with your submission, stating that you are interested in auditioning for an acting role, or that you are seeking representation by an agent.

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