Thursday, February 28, 2013

New Carolyn's Kids Talent

Welcome to Vanessa V. to Carolyn's Kids! Her and Jenna V. are twin sisters and we are pleased to have them both on board! 

New Carolyn's Kids Model

Welcome Jenna V. to Carolyn's Kids! We are so glad to have her, isn't she adorable? She looks great in purple! 

New Carolyn's Toronto Talent

Welcome to Chara P. one of our new models and actress'! We are so glad to have her with us, aren't her photo's beautiful?

Tuesday, February 26, 2013

Carolyn's Child Model in a Cineplex Movie Ad

Congrats to Daniel A. who is in this great ad for Cineplex. See one in a theatre near you! 

New Toronto Child Model

Welcome to Adrianna B. our newest addition to Carolyn's Kids! We are so happy to have her and are excited for her to start working with us.

Guest Post: Conflict or How To Bring Order to the Galaxy Without Turning to the Dark Side

“Conflict is the essence of drama.” – Aristotle
“Conflict is not the essence of drama. Agreement is the essence of drama.” – Del Close
“My head hurts.” – improv student


Some improvisers love it. Others run from it.

In most performers’ minds, the word “conflict” suggests that characters should disagree or fight.
Most discussions about conflict tend to generate their own conflict: Is it necessary? How does it get started? How do you avoid it? Should it be based on what the story needs or what the characters want?
In order to get a better understanding of conflict, let’s begin with the “Today is The Day” scenario that’s often taught.

Often teachers will frame scene work with the view that “Today is the day things change for your character…a scene should be about a life-altering experience.” Scenes that follow will be inherently interesting because we see the character in a new light.

After all, how exciting can it be to watch a character do the same thing they always do
We want to see a character finally stand up to his boss, declare his love, get a divorce, get a job, get fired…anything to break the routine.

And I don’t necessarily disagree with this so much as I disagree with how it is handled.
For one thing, anytime you use the word “should” in an improv context, you (inadvertently) set up expectations. (A scene should be about…)

In the rush to get to a life-altering experience, performers get so caught up in the theory that something needs to happen, that they miss out on what already is happening.

Before we focus on “Why is this day different than all the others?” what if we asked “Why is this day the same?”

Life-altering often seem less life-altering when we haven’t even established the life that is getting altered.

When we place more importance on what needs to happen than on appreciating what is happening, we lose touch with an awareness of ourselves in our experience.

And when we lose touch with how we feel about what’s going on, we start to guess. Or calculate what “should” happen. Rather than be ourselves and play from a truthful place, we make choices based on our opinion of what’s best for the scene.

In order for a scene to be interesting, it really helps for the improviser to be interested in what they are doing or what is going on. If they aren’t, then why would the audience be? When an improviser believes in the moment, they open themselves up to transformation, revelation, movement, resolution, agreement, and breaking of a routine.

These events are sometimes referred to as “tilts.”

A tilt can change someone’s status or even change the balance in a scene without conflict.
As long as you are invested in the moment, there isn’t any need to introduce or create conflict. The pressure you place on yourself to find the conflict will remove you from your scene.

As a result, you are no longer inside the scene, but outside of it.

If you construct conflict in order to create a scene, then you are constructing rather than behaving.
Just be.

If that’s not enough, be more.

When in doubt, raise the level of need for your character. If you get lost in the scene, it’s because you’re not in character. Dig deeper into how you feel about what you are doing, or how you feel about what is going on and allow it to inform you.

You don’t need to CREATE conflict; your character needs to need.

Other characters have their own needs, therefore conflict will ensue whether you want it or not.

“Conflict is inevitable, but combat is optional.” – Max Lucade

Written by: Tom Vest

Thursday, February 21, 2013

New Carolyn's Talent Actor

Welcome to Jordan Harding! We are pleased to have him and welcome him into the Carolyn's family as modelling and acting talent. 

New Carolyn's Kids Model

August is new to Carolyn's Kids and is a cutie with lots of personality. We are so excited to have her with us, welcome August!

View or Book August B. Here

Wednesday, February 20, 2013

Audition Tips for Successful Actors

Ever wondered what a casting directors advice would be to an actor about auditioning?

BE PREPARED! - It's one of the biggest tips and we second this one...even just knowing how much time it will take you to get there.

Have a look at this video for some great tips from some of LA's top casting directors.

Tuesday, February 19, 2013

Professional Actors vs. New Actors

Here is a great excerpt from Chris Frampton's blog that many of you should find useful. This is some great advice for actor's and aspiring actor's trying to emerge into the entertainment industry. 

"Being a professional is something you can do instantly. Work on your craft, become a better actor, but be a professional right away."

"Agents (and sometimes casting directors themselves) ask me for feedback on actors I work with all the time. Sometimes they’re concerned with their confidence or how they look on camera, but nine times out of ten they want to know about a new actor’s professionalism. Did they show up on time? Were they difficult to work with? Were they condescending or rude? How did they treat my makeup artist? Could they follow direction or did they think they knew better? Were they constantly distracted by their phones or Blackberries? Did they pay me promptly?

I’m patient and polite (among other wonderful qualities). Plus you’re my client, so it’s my job to be accommodating and manage the stress of a headshot session for you in order to get fantastic pictures and make the experience fun and rewarding. Whether it’s working out a payment plan or dealing with a little pre-shoot insecurity attack, I’m ultimately here to help you.

But consider for a moment how casting or production sees the issue.

When you step on the set of a TV commercial, for example, a tremendous amount of time, effort and money has been invested in that one, delicate moment. Clients have sat through hours of pitches and presentations at an ad agency. Those pitches have been crafted and honed based on hours of market research. A director has been hired and consulted with. Casting has taken two full days and a team of a dozen people, and callbacks and editing the audition tapes have doubled that. Keys have been hired, and crews. Locations scouted and booked. A catering company has been hired, and then fired, and then replaced. Payroll, accounting, ACTRA agreements, wardrobe fittings, set building, lighting, camera rentals, postproduction contracting; by the time the actor steps onto their little taped-down ‘T’ upwards of $1,000,000 and hundreds of man-hours have been spent for each day of shooting.

And what if you’re two hours late? What if you’re hungover? Or texting constantly? Or hitting on extras? What if you insist you “need to run out to an important audition”? What if you’re up the 2nd AD’s ass the second you’re into meal penalty, or on the phone to the ACTRA steward every time the caterer forgets about your gluten allergy? God forbid, what if you just don’t show up?

And don’t even think about feature films or episodic TV, where in addition to all of those factors you might also have a significant amount of actual acting to [mess] up. Without a pre-existing relationship, a casting director is taking a huge risk every time they book an actor, and it’s a risk they (and your agent, for that matter) are keenly aware of.

The fear of flaky actors might be exaggerated, but it’s unfortunately not completely unfounded. Those green actors who can’t take the business of acting seriously ruin it for everyone, and to work in this city it’s imperative you’re not one of them.

Being a professional is something you can do instantly. Work on your craft, become a better actor, but be a professional right away."

Does this make you think about how you appear to agents and casting director's at auditions? Hopefully this has been some good food for thought and will motivate you to become more professional or more aware of your professionalism in the industry moving forward. If you have any related stories, comment below and share them with us! 

Article courtesy of

Thursday, February 14, 2013


We are pleased to welcome model and actress Star Martin from Vancouver. Star is an absolute beauty and a true talent, we couldn't be happier to have her with us here at Carolyn's Model and Talent Agency. Welcome Star! 

Take a look at some of Star's stunning photos below.

Thursday, February 7, 2013

Eyebrow Tips & Tricks!

All About Eyebrows

Eyebrows frame the face and can change your entire look! It's important for your eyebrows to properly suit you and your face shape as that could make or break an audition/casting. It also helps make you feel more confident when your eyebrows are shaped properly, and confidence is priceless! 

There are three different types of arches, high, medium and low arches. You want to follow your natural arch as that will best compliment you and your facial features. Here are some tips for your type of eyebrow shape/arch and what you can do to get the most from them in order to enhance your eyes.

High Arch

If you have a high arch, less is always more! Beware making your brows too thin though, as it could leave a wide gap between your eyes and your face looking hollow. Too thin eyebrows with a high arch will make you look surprised and wash out any of your great features. Keep high arches shaped thinner, yet full and graceful. Megan Fox is a great example of sexy brows - she rocks her high arch. Fill them in with a matching powder or pencil for a bold and sexy look! 

Medium Arch

A medium arch is the most flattering on all face shapes. To shape your medium arch, pluck any stray hairs under the highest part of the arch but keep from plucking any hairs on top of your brows. Keeping your hairs on the top create the natural flow of the arch so stay away from shaping the top. A great tip if you have a medium arch would be to elongate the ends of your brows with an eyebrow pencil or powder that matches your brow colour.  

 Low Arch

If you have a natural low arch it's always best to keep them as natural as possible. Too much plucking will wash you out completely, so be sure to not over tweeze or wax. Tweeze any stray hairs under your arch but do so moderately in order to keep them flattering. If your brows are still too bushy, be sure to use eyebrow scissors to trim them. Keeping your brows natural shape is low maintenance so rock them like Miley does!

Here is a photo on what your brows should NEVER look like! A great example of over tweezing/waxing. 

Tuesday, February 5, 2013

Acting/Singing Job Search - PAID!

B Lines Consulting, GTA

Looking for performers with vocal training and acting experience to play Princesses at birthday parties. MUST have a car and be available all or most weekends.

Great opportunity for working actresses and acting students, during the weel work at your acting craft or school and perform at parties on the weekends for great pay!

MUST look like Cinderella, Rapunzel or Barbie.

MUST send head shot and performance resume as well as work experience resume.

Include costume size and current pictures only please

Status: PAID $75 per hour
Starts: NOW
Director: Barbara

- Female/18-24/Caucasian
- Blonde Hair (Looks like Cinderella/Barbie)
- Has a great singing voice!

APPLY at to Barbara