Get More Commercial Auditions

Written by: Carolyne Barry
www.carolynebarry.com / www.mastertalentteachers.com

The number of actors submitted for any given commercial depends on the type or role and in what city it is being cast. If the role is that of an early twenties, wholesome, attractive all American college girl casting in Los Angeles there may be thousands of submissions. As opposed to casting a role of a 5 foot tall, mid forties man who speaks fluent Russian and can juggle – there might be a dozen, if lucky.

In minor markets, actors will mail or deliver their pictures and resume to the CD. In the major markets, most commercial jobs and more and more TV and film work are cast utilizing online websites. Basically, the way on-line casting works is:

• actors pay a fee and join the site(s), or their agent(s) or manager supervise the posting of their client’s pictures and resumes
• the casting website company displays the actors’ photos and resumes online CDs post their casting breakdowns on the casting website. 
 CASTING BREAKDOWN: CDs posts the descriptions of the roles they are casting (delineated by gender, age and physical type) online for for the agents, managers and/or actors to view.
• Agents, managers will then submit their appropriate clients. And actors, when allowed can submit themselves.

Normally , in major markets, there will be hundreds if not thousands of actors submitted for most roles. Casting directors often have only hours to prep and set up a casting session. They will go online and scroll through screen upon screen of thumbnail photo submissions. Your pictures have to stand out, say something and look like you. The CD looks at many (not all) of the submissions to choose the actors to bring in for the audition. . I would guesstimate, depending on the role, that 90% of those submitted will not get the audition because on most days a CD sees only around 60 -100 actors per role.

So how do commercial casting directors choose the actors to bring in for their commercial auditions? Obviously, your main photo should catch their attention. So it is very important to have a current professional photo that captures what you really look like on a good day. It is also important to have a resume that with or without strong credits is presented in a way that is impressive. And having four to six other shots posted that show your various other “looks”.

Since pictures are so very important, obviously you must get the best and the best doesn’t usually mean the most expensive. This takes research. Check out working actors photos which you can find online casting sites or on most photographers websites. Study what it is that makes their pictures “pop” and try to use that information when you shoot and select your headshots.

After pictures, the second most important submission tool for actors is their resume. When industry professionals look at a picture and want to know more about the actor, they view his or her resume. It needs to persuade them to bring the actor in to audition or to hire him/ her for a job. Make sure your resume is not just a list of what you have done. Your credits, training and skills needed to be presented in a way that is professional and impressive (but truthful). You can have a somewhat notable resume’ even with anemic credits when what you have accomplished is presented smartly. In my book HIT THE GROUND RUNNING, I have full chapters on getting great photos and creating impactful resume’s.

There are too many actors who want what you want: to secure auditions and get work. Granted, you are not in competition with every other actor – just the hundreds or thousands who are your age and type. To compete for the auditions, you must have powerful headshots and impressive resumes. Get the information you need on these two subjects to produce the best results.

There is a lot involved in submitting for commercial auditions. To learn even more from four of Los Angeles’ top commercial casting directors, go to, www.mastertalentteachers.com and watch my FREE video on this subject. And for additional insights and tips, check out my book Hit The Ground Running @ www.hitthegroundrunningbook.com

COMMERCIAL AUDITION TECHNIQUES
“Solo Dialogue To Camera”
by: Carolyne Barry

A challenge with monologue dialogue commercials auditions is how to truthfully start speaking. With 10, 20 or 25-second copy, there is no time to work into it. You must be connected at the beginning otherwise those viewing your audition may lose interest and fast forward to the next actor. I believe that when you use a “who” and a short pre- life you will get an immediate connection to the dialogue.

Who: The person you have chosen to relate to with the copy. The selected “who” is one you believe that you can connect to best with a particular piece.

Pre-lIfe: the thoughts, feelings and/or action that the actor thinks, feels or does that precede and motivate the scripted dialogue or the physical action.

Both these tools are major acting and audition assets for scenario and scripted commercials as well as theatre, film and television work.

THE WHO
The “who” is primarily important for auditions when you are doing monologue copy to the camera, – not so much when you are auditioning with other actors. You might be thinking how can I speak to someone when there is no one there. Well, what about when you are talking on the phone? There is no one to see but you are totally involved in the conversation. And with practice, you can have that same connection with your “who” when looking into a camera.

I believe that people have a different energy, connection, tone and verbal delivery when talking to the various people in their life. For example I have a different relationship thus a different way I speak to my students than I do to my family or a loved one – also different than when I talk to someone I work for than I do with a funny friend. This is probably true for you.

Understanding this can help when you select the most beneficial “who” to speak to when preparing your audition material. Allow each piece of commercial copy to suggest a meaningful person for you to relate to.

PRE-LIFE
In order to create an honest “pre-life” during your audition prep you must first DETERMINE YOUR “WHO.” Next, decide what that person said to MOTIVATE YOUR FIRST LINE. It is helpful to hear a short question. It is not only thing you can hear but it works best most of time. If you choose to see something, respond to it by having a thought or two. The pre-life happens quickly and should take one or two seconds (no more).

Now that you
Know who you are talking to,
Know what you have heard or seen,
Once you hear the words in your mind
Honestly react to it with a simple, physical, UNREHEARSED reaction.
Allow this reaction to motivate the first line.

The key to an effective pre-life is the simple physical UNREHEARSED reaction during which you might utter a little sound. If it is an honest reaction it will be different every time. When you are preparing, each time that you do a run through, allow for the “pre-life” reaction to be instinctive and different – not the same unless it organically happens. Trust, never question, your instincts while auditioning. Committing to them helps keep you “out of your head.” Don’t be concerned with how you are doing.

Auditioning using a “who” and “pre-life” should result in more callbacks and bookings. It also reinforces the craft, which assists actors in becoming better actors.

To learn how to use “The Pre-Life and “The Who” watch, my FREE video, at mastertalentteachers.com

If you missed previous craft and audition technique articles and videos you will find them in the archive on my COMMERCIAL page on mastertalentteachers.com.

PROFILES: IN MOST EVERY ON-CAMERA COMMERCIAL AUDITION, AFTER SLATING, AN ACTOR WILL BE ASKED TO TURN SIDEWAYS AND SHOW THE LEFT AND RIGHT SIDES OF HIS/HER FACE AND BODY SO THAT THOSE WATCHING THE VIDEO AUDITIONS CAN SEE WHAT THEY LOOK LIKE FROM THE SIDE.

The reason “Profiles” are done is so that those doing the casting can get a clean look at the side views of the actor’s body. Most auditions especially those with dialogue are done facing the camera but in many commercial, actors move sideways or are working or speaking in profile.

 So, the “creatives” need to see if actors are: Round shoulders, have a large or small chest, have a belly, receding chin, big nose have tattoos, the length of their hair, the shape of their head, etc..

If actors have any body issues that can be perceived as a distraction in the TV commercial, doing “profiles “will reveal them and that is why those making the casting decisions require them.

The profiles are done after the “slate.” The “slate” is done in a close-up or medium close-up then the camera zooms out as the actor does their “profiles.” Simple enough, right? It should be but many rookies don’t always understand what is needed.

UNPROFESSIONAL SLATES
Turning just your head (not your body) is technically a “profile” but is not what is needed at commercial auditions. Turning your head only to a 45 degree angle to camera doesn’t give the “creatives” what they need to see (which is the full body in profile). Other rookies profile mistakes that sends a very negative message is when actors are: Being ultra cutsey, turning too fast ore too slow, fidgeting, looking angry, confused, bored or has an attitude. Profiles done any of these ways make the actor look like an amateur. Why would those casting even bother to take the time to watch the audition work of an actor who can’t even do simple profiles in a professional manner.

GOOD PROFILES

To do a Professional “Profile: Be relaxed with a positive and confident energy. Turn your body to the right at a 90 degree angle, stand for a second, face the camera then turn you body to the left at a 90 degree angle, hold for a second face the camera then turn toward camera and smile. Although you are relaxed, be sure to stand up straight- shoulders back and tighten your stomach muscles.

SIMPLE IS PROFESSIONAL

You might be thinking, “ how boring”. Well, it is regimented for an important purpose. Your personality and essence will be present in your slate and your audition. The profile just needs to be done simply and professionally then it will send the right message about you.

You probably assume that now that you have read this article that you understand how to do it and will have no problem with doing your “Profiles.” Just to be sure, I suggest that you video yourself doing your “Profiles.” If it is not clean, practice a few times and record yourself once again. To see how to do professional PROFILES watch, my FREE video, PROFILES at mastertalentteachers.com

If you missed previous commercial craft and audition technique articles and videos you will find them in the archive on my COMMERCIAL page at mastertalentteachers.com.

At the start of an on-camera commercial audition, actors are requested to “slate” their name – a “slate” is the actor introducing himself or herself to the camera before beginning their audition. Saying your name seems so simple, which is why many give it no real thought. This can be a mistake because the slate provides important information about you. It depicts confidence or lack of, essence and personality and often gives those making casting decisions a reason to watch or not watch your audition.

On most initial commercial audition videos there is usually a minimum of 50 to 200 actors per day who are viewed. It is about two and a half hours worth of auditions that the powers-that-be who do the casting will watch in an average of just 30 to 45 minutes. So more than half the actors are not thoroughly viewed or seen at all. Granted, actor’s looks are a strong determining factor in getting callbacks and bookings, but their presence and how they connect on the slate also has influence. Because normally during those few seconds that it takes to do the slate, those watching will determine whether they will view that actor’s audition or skip it. There is no second chance to make a first impression. This is especially true for commercial auditions. So SLATING is important.

From years of casting and teaching, I have seen most of the ways that actors make bad first impressions with their slates. When actors are:

• too perky or “cutesy” or if they have a forced smile on their slate, it appears that they are trying to be “commercial” or working too hard to be likeable, which makes them seem insincere, insecure or badly trained
• moody, sullen or arrogant, it gives the impression that they are going to be a problem
• slick or uptight, they appear unbelievable or unlikeable
• not making eye contact with the camera, they seem afraid, shifty or inexperienced
• working hard to be interesting, they look amateurish
• too fast or softly, it makes them appear nervous
• too slowly, it often comes off as patronizing or monotone
• too loudly, it suggests they have done more theatre than film work or that they are trying to reach the camera with their voices, which makes them appear inexperienced.

Although the camera is ten to twenty feet in front of the auditioning actor, it is framing, for most auditions, from the actor’s chest or neck to the top of their head – so the image and the audio will appear as if the camera were just three feet away. Therefore, projecting vocally is not a necessity; in fact, it is a distraction and can make actors look amateurish. Those who have done a lot of theatre tend to speak loudly.

Most actors don’t knowingly choose to do their slates any of these disempowering ways. It is usually an unconscious act, habit or a manifestation of their nerves. If you have been told or feel you are not authentically introducing yourself on your slate, then you should give it some attention.

Bottom line, a slate is a positive introduction, not a presentation, announcement or line reading. To learn how to do professional slates,
check out my FREE video, SLATING at mastertalentteachers.com

If you missed previous craft and audition technique articles and videos you will find them in the archive on my COMMERCIAL page on mastertalentteachers.com.

Many new actors are not really clear about what it takes to have a good working relationship with their commercial agent. It is very beneficial to understand what is expected. So here are the responsibilities and expectations as it pertains to most commercial representation.

Upon signing with your commercial agent, there will be tasks for you do:
• If your agent doesn’t love your photos, he/she will expect you to shoot new pictures.
• You might be expected to redo your resume.
• If you have not taken a commercial or Improvization workshop they may strongly suggest you take one or both to do better auditions.
• You will be told to sign up for one or two of the casting websites.
These actions must be completed before submitting new clients for auditions.

Once you start auditioning, your agent(s) have lots more expectations.
Clients must:
• Have a cell phone with voicemail
• Have appropriate wardrobe for the types of roles they will be auditioning for.
• Keep agents supplied with current pictures and resumes
• Update their profiles on the casting networks with new photos and resume’ changes.
• Always return agents calls within a few hours to confirm auditions
• With a few hours notice, be available for auditions
• Show up for auditions
• Book out with the agency if going out of town or for any reason are unavailable.
• Be on time for auditions.
• Let the agency know if you make or plan to make any changes to your physicality (i.e. large weight gains or loses, braces, hair color or major style changes, etc,).

Signing with representation doesn’t guarantee that you will always be with that agency. After a year, agents often drop clients if: they don’t get a good percentage of callbacks or booking; are not available for auditions or bookings; if they miss confirmed auditions; act unprofessionally at auditions; or are a problem client.

RELATIONSHIP WITH YOUR AGENT
Most actors want to create a relationship with their agent(s) but are not sure if they should visit, call, send emails and if so, how often. Your relationship at least for the first year or two is just business. If you are going to visit, call or email, have a business purpose, i.e. to show video of acting work, to select new pictures, get direction on which workshops to take, invite them to a show you are in or to watch a TV program you are on, report any major changes that affect your availability or physicality, etc. Agents are busy working for you and their other clients. They don’t really have the time to hold your hand or hang out with you. If you do have a valid reason then making contact once every six or eight weeks is appropriate for many commercial agents. If you have been with your agent for at least a year and you have booked a few jobs through them, then inviting them out to lunch or giving them a small gift for the holidays would be amenable to most.

LEAVING YOUR AGENCY
If you are unhappy with your commercial agency because you are not getting out on many auditions, the auditions you get don’t feel like a fit, your agent is always unavailable for conversation, – first, try to talk with your agent before you make a move to leave. And only if your issues are not addressed should you drop the agent (only after you have interest from a new one).

To get more info about how to have the best relationship with your agent(s), check out my FREE video BEING A REPRESENTED ACTOR at mastertalentteachers.com in which three top Los Angeles agents talk about what they expect from thier clients.

If you missed the first two articles in this Commercial Agent series, you will find them and the accompanying videos in the archive on my COMMERCIAL page at mastertalentteachers.com.

You have submitted your photo, resume and a succinct and engaging cover letter to several commercials agents and you have interest from one or more who have set-up meetings, -now what.  How do you prepare so you will have a great interview?

Before the meeting, research the agency so you will be able to knowledgeably talk to the agents.  For the meeting:

• Be on time (even though you will probably have to wait)
• Dress and groom yourself appropriately for who you are and to meet a person(s) who can help with your career
• Bring additional pictures and a reel of your acting work (if you have one)
• Bring a list of your commercial industry contacts (if any)
• Be prepared to read commercial copy (some agents do readings, some don’t)
• Be in an authentically positive mood
• Ask questions that will help you determine if that agency would be the right one for you.

It is important to remember that you will be interviewing the agents as well.  So many actors are happy to have the meeting that in an effort to be signed they are often afraid to let their true personality show and are hesitant to ask questions.

During your meeting, agents will be evaluating you to determine if you are a fit for their agency. They will look at many things: physicality, personality, type, essence, age, credits, professionalism, talent (if they have seen you in a class or production, have auditioned you in their office or have viewed your reel) and if they need and/or want your type for their rooster. Bottom line, you are a product to them. This is a subjective business. Each agent will choose clients based on his or her criteria, taste and needs.

YOU HAVE A CHOICE

There are many commercial agents, smaller theatrical agencies and managers who sign actors based primarily on type, a look and/or personality. Talent is not their main focus. Do you want representation that submits just your look or one that represents you and your talent?  I suggest that you encourage your potential representation to see you act. If they don’t do auditions and there is no professional work to view, consider shooting some quality video of yourself doing two or three short commercials and/or short scenes. (If you do create your own reel, make sure it is edited together and does not run more than three minutes.)

It is important for whomever you go with to know your work in order to best represent you. If you are anxious to get a “start-up” agent or acting is a hobby, the distinction of them wanting your type as opposed to you and your talent may not be important. If you have choices or can be patient, then signing with someone who appreciates your talent is better for your career. Being an actor whether for theatre, TV and Film or commercials is a business. In order to be a success, you need to train, market, promote and select representation that gets what makes you special, guides you and creates opportunities to book work.

To be prepared, check out my FREE video, MEETING with COMMERCIAL AGENTS at mastertalentteachers.com in which three top Los Angeles Agents talk about what they look for in their meetings with prospective clients.

If you missed the first article in this series covering HOW TO SUBMIT TO AGENTS, you will find it and the accompanying video in the archive on my COMMERCIAL page at mastertalentteachers.com. In my next article, I cover how to create a successful relationship with your agent and thus get the necessary opportunities to audition for and book television commercials.  Don’t’ miss it.

To watch this video again in the future, find it on the Teacher’s page or in the archive.

In major markets, there are hundreds of agents. Attaining legitimate representation for commercials is usually rather involved so it important to choose the agents you wish to target and research them:

•      In major markets buy updated books that list and describe agents and managers (In Los Angeles, these books are sold at Samuel French and New York at the Drama Book

•      Obtain a list of franchised agents from SAG.

There are agents who are not SAG-franchised. That does not mean they are not reputable. Those who are members are just easier to check out and are accountable to a supervising entity.

•      Ask industry pros you know as well as your friends, teachers, relatives, and classmates the following about agents:

– Whom do they recommend or have heard about with great reputations and who should be avoided?

– What is the best way to contact them?

– Is there anyone they know who could help get more information or has an “in”?

•        If you belong to a networking group, check with their members and their records.

•      Go to the websites of those you are considering and read about the company history and the agents.

•      Once you have a short list, check your choices with the Better Business Bureau. Find out if they have had claims filed against them.

SUBMIT

The size and status of the office you should realistically approach is determined by where you are in your career. When starting, you will find that the small and medium-sized offices are often more receptive to meeting new talent but if you do have an “in” at a major agency or just want to try to get with one, definitely pursue it. If your timing, talent and type are right, you could get lucky.  Now that you know the reputable agents you wish to pursue, submit a picture, resume’ and cover letter.

Don’t mail to one at a time and wait for them to contact you. It is also a waste of money to do a mass mailing to every agent in town. I suggest mailing to a select fifteen or twenty. Agents are bombarded with actors soliciting them. You might hear from some within a few weeks. If you don’t get any responses, submit to your second choices. Agents and managers will call you for a meeting if they are interested in what they see in your submission. If you have industry contacts, teachers or friends who can recommend you to your desired agent(s) I propose you ask your contact if they would advise the agent to expect your submission.  If you get minimal or no response after the second round of submissions, shoot new photos, redo your resume and cover letter and then, in a few months, submit again to your first then second choices. Client rosters often change, making room for an actor who was of no interest just a few weeks earlier.

And for additional insights and tips, check out my book Hit The Ground Running @ www.hitthegroundrunningbook.com