“Baby, You Ought to Be In Pictures”: 5 Steps to Avoiding a Scam

“Baby, You Ought to Be In Pictures”: 5 Steps to Avoiding a Scam

“Excuse me, can I talk with you for a moment? Your child is beautiful and has real start potential! She’s just what we’re looking for,” says the woman standing at the kiosk in the center of the mall. There are photos of smiling faces all around and signage that tells you this woman should know a thing or two about what makes a star. You might think: She’s a talent scout, after all. And of course, she’s right. My child is positively adorable with those sparkling eyes and generous, toothy grin. 

Industry Voices: Staying Safe Online

An interview with BizParentz Co-Founders Paula Dorn and Anne Henry: Part 2

BizParentz Foundation, a non-profit organization, supports young performers and their parents by providing education, advocacy and charitable support. Created by stage moms Paula Dorn and Anne Henry, BizParentz aims to share information on topics associated with children in the entertainment industry so that families can make an informed decision best suited to their individual needs and experience.

Industry Voices: Safety, Smart Choices & Stage Names

An interview with BizParentz Co-Founders Paula Dorn and Anne Henry: Part I

How it all began: In 2001, Paula Dorn met Anne Henry. Their sons, both 10 years old and established young performers in the LA area, were working in a live show at Disneyland. Around that same time, the Screen Actors Guild (SAG) was sponsoring legislation that updated the “Coogan Law,” which requires trust accounts for young performers.

Assuring the Well-Being of Your Child Performer

Recently, two industry powerhouses, Sally Gaglini and Alan Simon, had the opportunity to engage in a Twitter discussion on the topic, “Assuring the Well-Being of Your Child Performer.

Alan Simon is the founder and President of Location Education, co-chairperson of the SAG-AFTRA Performer’s Committee (New York Branch), and a member of the Young Performer’s Committee of the Actors’ Equity Association. Sally Gaglini is the author of Young Performers at Work: Child Star Survival Guide and a legal advisor with twenty-five years’ experience working with young performers.

Are You Social Media Savvy?

For child actors working to launch their careers (and the parents who support them), building awareness outside of auditions can be one of the greatest challenges in their fledgling professional lives. Luckily, there’s an inexpensive yet potentially powerful marketing tool at your disposal that can help you connect with entertainment industry professionals and keep your young performer in their spotlights whether they’re auditioning for them or not: social media.

Industry Voices

Sally Gaglini has spent more than twenty-five years as a legal advisor for young performers and the companies for whom they work. Her commitment to child actors runs deep, as founder of the Gaglini Law Group, as an entertainment law teacher at Suffolk University, and in her work with lawmakers in creating the inaugural child performer law in Massachusetts. 

QUIET ON THE SET CAN WAIT; SAFETY FIRST!

From offices to oil fields, workers everywhere have the right to expect conditions to be as safe as possible for their given workspaces; for child actors, expectations are even higher. Set life may sound glamorous, but despite the best efforts of production companies and entertainment industry professionals, unscrupulous and unsavory people sometimes manage to get past established safety checks and endanger young performers (not to mention the entire cast and crew). Early summer of 2015 saw a spate of incidents with studio teacher impostors, putting performers, production companies, and parents on high alert. The obvious question is: How does this happen?

Protecting Young Performers in California

Did you know that a number of states do not have adequate laws in place to protect young performers? This comes as a surprise to many parents, especially those whose children are just entering the business. States without such protections are forced to rely on SAG-AFTRA to dictate working conditions for young performers.