WHY PEDANTIC ACTOR HEADSHOTS NEVER SEEM TO LEAD ANYWHERE

THERE IS A SPECIFIC STYLE OF ACTOR HEADSHOT PHOTOGRAPHY WHICH I AM GOING TO TERM "PEDANTIC ACTING HEADSHOTS".  These photographs immediately call attention to themselves as in "wow, that looks like an actor's headshot."  I would say that, for the most part, you can see galleries of these types of photographs on the web pages for commercial-oriented photographers in Los Angeles.  No surprise there, as commercial agents love these kinds of headshots.  These are also the kind of headshots that newcomers to Los Angeles will also typically have when making submissions to talent reps.  Believe me, I've received at least a thousand submissions and pedantic headshots are by far the most common.

My thesis for this communication is "Why pedantic actor headshots never seem to lead anywhere."

The most you can really say about these headshots is "I have headshots and they look like me."  Whatever that means.  Essentially this is a resignation to the cultural forces that shaped your life and how you are unable to throw off the weight of these random circumstances and promote your uniqueness.

These headshots obviously would be effective if the actor has an inimitable visual quality (i.e. A LOOK).  For example, Danny Trejo probably would do well with pedantic headshots.

 The idea is that the naive actor doesn't really know how the casting office will utilize them.  Because they don't know how casting evaluates talent, they are, in effect waiting for someone, anyone, to cast them and tell them what roles they will be playing in film and television.

Unfortunately, because pedantic acting headshots don't really describe any specific qualities or aesthetic, they essentially qualify the aspiring actor for nothing.

To understand the reason for this we need to first "look backwards through the telescope" into feature film writing, and in particular, character descriptions.  The character description is typically a one or two sentence "slugline" that attempts to capture the essence of the character when they first make an appearance in the script.  You may have noticed by reading pilot scripts that the "character breakdown" published to talent reps is usually copied verbatim, word-for-word, from the character description written into the script by the screenwriter.

I asked Chat GPT to describe how the _screenwriter_ is tasked with introducing characters.  Read that next and pick up this thread below.

Writing a character introduction or description in a screenplay, whether for a feature film or television, is a critical aspect of scriptwriting. It sets the stage for the audience's understanding of the character and their role in the story. However, the approach can differ slightly based on the format—feature film, 1-hour drama, or 1/2-hour sitcom.

Feature Film Screenplays
Brevity and Impact: Feature film character introductions tend to be concise yet vivid. The description should capture the essence of the character in a few impactful words or sentences.

Visual and Action-Oriented: Since films are a visual medium, character descriptions often focus on visual elements like appearance and mannerisms, combined with an action that defines their personality or role.

Subtext and Implication: Good character introductions in films often imply more than they explicitly state, leaving room for the audience to infer depth and backstory.

1-Hour Drama Series
Detailed and Layered: In a 1-hour drama, there's more time to explore characters, so introductions might be more detailed, revealing complexities and layers to their personality.

Tone and Atmosphere: The introduction should match the tone of the show, whether it's gritty, suspenseful, or emotional, and should help in setting the overall atmosphere.

Character Arc Signifiers: Since TV dramas often focus on character development over a longer period, introductions might include hints at potential character arcs or transformations.

1/2-Hour Sitcom
Quirky and Exaggerated: Sitcom character introductions are often more exaggerated and humorous, highlighting quirks or comedic traits right from the start.

Stereotypes and Archetypes: Sitcoms frequently rely on stereotypes or archetypical characters for quick audience recognition and immediate laughs.

Situational Context: The introduction might emphasize how the character fits into the sitcom's typical situations or comedic setups.

General Best Practices
Show, Don't Tell: Avoid overly descriptive or expositional introductions. Let the character's actions, dialogues, and interactions reveal who they are.

Unique Voice: Each character should have a distinct voice and mannerism that sets them apart from others.

Consistency with Genre: The introduction should be consistent with the genre's conventions, whether it's drama, comedy, or thriller.

First Impressions Matter: The first time a character appears on screen is crucial. It sets the audience’s expectations and interest in that character.

In summary, while the foundational approach to writing character introductions remains rooted in brevity, visual storytelling, and showing rather than telling, the execution varies depending on the medium and genre. Feature films focus on impactful, visual introductions, 1-hour dramas allow for more detailed and layered descriptions, and sitcoms lean towards quick, humorous, and often exaggerated introductions.

I'll let your commercial agent continue to go with "great gusto" and pedantic glossy headshots but if you're seeking traction in film and television, you need to put those naive notions aside and start making some artistic choices and aspiring to specific aesthetics.

I'm not going to tell you what the theatrical agent (Erich) that trained me told me about acting headshots, but I can assure you, it's not about pedantic glossy headshots that say "I am an actor".  Essentially I took what Erich told me and spent a  decade exploring his recommendations by directing clients to properly plan photography sessions and in particular, planning wardrobe and choosing photographers to execute a specific vision.  I often compare this activity to the role of the "Production Designer" on a feature film.  If you are not familiar with the role of the production designer, often these personnel have a background in art history or some related discipline so they can faithfully reconstruct a moment in history, down to the small details of the furniture in the room and the cigarettes the protagonist is smoking.

Because your headshots should be, first and foremost, arising from a vision.  A vision or pre-visualization of some highly targeted, small cluster of archetypical roles that you desire to be cast as in film and television.  These photographs should be highly specific in terms of genre tone, wardrobe, and vibe or mood.  Generally speaking they should look a great deal more like EDITORIAL PHOTOGRAPHS than pedantic actor headshots.  However, they should not be "on the nose."  No headshot should look like a photograph of you weaing a cop or french maid outfit to a Halloween party.  

Editorial photographs are often used to capture some important event happening in world history in a manner that attempts to embody a complex moment in history with a single photo.

In almost every legitimate acting class that I am aware of, the students are directed toward "keeping it real."  The audience loses interest in scenes they find false or unrealistic.  If that is the principle for the scene, it would then follow that the same principal apply to headshots.

If I had to use a single word to describe effective headshots it would be "gravitas."

When I was young my parents had a number of art books on the coffee table in our family living room.  Among them were photo collections of a Canadian portrait photographer named Yousouf Karsh.  I personally think you will find more inspiration from his photos than from trying to figure out which glossy photographer will make you look younger, more beautiful or some other concept unrelated to casting activities.

I would also encourage you to carefully observe crime procedurals like LAW & ORDER or NCIS due to the fact that these shows have large demands for new faces and deal almost exclusively in character archetypes. After identifying roles that you are drawn to, or uniquely qualified for, first imagine in your mind's eye the visual attributes of the characters.  Remember, in our industry the principle is "show don't tell."

After compiling a small list of say 3-6 archetypes that repeatedly appear in television scripts, carefully unpack the status, wardrobe and context where the character typically appears.  Use this information to plan your photo shoot:  is the character's hair messy or carefully combed or permed?  Is the business suit rumpled and ill-fitting or is it carefully tailored and starched?  

Production designers often develop a LOOK BOOK for a feature film project which is like a scrapbook of found imagery which attempts to convey the visual aesthetic of the final movie.  The planning of your shoot would ideally mimic this activity.  The scrapbook could contain screen captures from scenes in existing film & TV shows, editorial pictures from history, Instagram photos.  It's called a scrapbook for a reason.  I started collection film LOOK BOOKS and if you'd like to see some examples, get in touch.  These are also called PITCH DECKS in the context of feature film producing and likely you can find some online as well.

With a great scrapbook (pre-production bible) you will be able to shop effectively for wardrobe at Nordstroms or Jetrag or Hot Topic, as appropriate, but more importantly, arrive at your photography shoot with an amazing tool to communicate your vision to both the stylist and the photographer.  It is my opinion, after reviewing thousands of photos, that the stylist is an often-overlooked critical element of a brilliant photo shoot.  In some cases the photographer only does the best work when a certain stylist is on the job.

The most effective acting headshots suggest that the actor is highly qualified to play SPECIFIC ROLES as they are described in character breakdowns.  Headshots that lack specificity tend to be ineffective.  In the casting office, the pedantic actor headshots represent an undifferentiated see of "sameness" in contrast to highly specific looks and aesthetics which compel the casting personnel to look deeper into certain candidates.  The headshot photos "jump out" of the grid because the casting personnel are holding specific concepts in their mind as they scan the grid for selections.

It's not really about TRADE DESCRIPTIONS, although that might be a jumping off point for your research.  Consider these four roles for "lab tech" early 20s:

[KEENAN EGOWE] - Early 20s male. An engineering student at a top university, he's a first-generation scholar, highly intelligent, and studious. His life takes a drastic turn when an innocent game with friends escalates beyond control.
[FITCH BRAUN] - Early 20s male. Exceptionally smart and attractive, he's a leading engineering student known for his charisma and confidence. Best friends with Frederick, he's often his biggest rival in academic and social arenas. His intense desire to succeed is pushing him towards a darker path.
[JULIO GARCIA[ - Early 20s male of any background. The quintessential nerd, more comfortable in the lab than in social settings. As an engineering student, he's less competitive than his peers. He's thrilled about his new relationship and strives to keep the peace among his friends.
[DELROY SWAIN] - Early 20s male. A dedicated student of biology and genetics, always busy in the lab. He's a modern scientist with a strong moral compass, assisting his engineering friends but aware of the ethical dilemmas in their pursuits.

The idea here is that if you, personally happen to "lean in the direction of nerdy", you should have an EXPLORATION OF NERD PHOTOS which unpack the subcategory of nerd, not just a cheesy one-off pedantic headshot that looks like a nerd from iStockPhoto or whatever.

Ideally base your research on real nerds, real scientists, real engineers, real doctors, real lawyers, real politicians, etc.  Almost everyone is on Instagram sharing their personal aesthetic!

If you play under 22, go to the mall or go back to the quad at a local college.  A lot can change in 4 years but let's be clear, HOT TOPIC is still a thing.  I'm always curious as to the contents of the window display at HOT TOPIC on any given weekday.  As retail implodes, HOT TOPIC SURVIVES!  You could become the HOT TOPIC of acting careers.  As the careers around you implode, yours should thrive because you understand that the casting office is shopping for photos that depict characters described in screenplays.  They are not shopping for actors.

If you're like many actors who have 1000 copies of an 8x10" pedantic acting headshot that you proudly used during your first year in L.A., keep them safe so that one day you can write your autograph on them at fan conventions.