Evolution of the Demo Reel
All actors need a demo reel. In this video, Retta Putignano of Create Your Reel talks about the demo reel and its evolution.
Posts
Structure Your Life for Success
By Joe Tremaine
You have chosen a career in the Arts, as an Actor, a Singer, a Dancer, or whatever, and you want to be a success.
Where do you start?
RIGHT WHERE YOU ARE!
You and only you can take charge of your life, your career! If you want to win, train yourself to win. If you want to be successful, train yourself to be successful.
How do I do that?
You Structure your Life for Success!
Make a detailed daily schedule of all the things you want to accomplish and stick to it! Be sure to include all of the mundane things that you need to get done as well as the important career moves you need to accomplish on any particular day.
Write each thing down and then make it happen! You will be amazed at the number of things you can accomplish in a day. Soon you will feel the satisfaction of those accomplishments as you check off the completed tasks! The satisfaction of accomplishment is enormous and sets you free to enjoy your life and advance your career!
This is YOUR Life! YOUR Career! Be hard on Yourself! No Slacking! You ARE the Product!
You want to SELL what you do?
Then you better PROVE IT!
Insider Tips for Doing Your Best Commercial Auditions – Part 1
Commercial auditions are challenging for most actors. Audition material or scenarios are at the most 20 seconds, which means you need to be up to speed right away. No time to get into the material. You are only in the audition room, on an average of 5 minutes. Just a few minutes to get comfortable, answer questions, take direction, hopefully get a rehearsal, slate and do one or several takes.
I believe that the following audition pointers that I formulated from personal audition experience, teaching thousands of students and observing actors who have auditioned at my casting sessions, will serve well your auditions for commercials (as well as TV and film):
- As you walk into the audition, don’t think about anything you worked on. Let it all go. Be present to whatever happens.
- Be respectful, positive and professional without losing your personality.
- Give full attention to the person who is directing you: Don’t be distracted by anyone or anything. When you are being given direction, don’t be figuring out how to do what they are saying. Just listen and trust that you got it: otherwise, you might miss input.
- If clarification is needed, ask questions. Questions are only irritating when they are unnecessary. Those running the session won’t think less of you because you request answers. Their input will help you to do a better audition for them.
- While being recorded, if they talk to you or ask questions, don’t second-guess what they want to hear. They probably want to get to know you and see your personality. Just talk to them as opposed to trying to impress.
- If the session director or CD is rude, short-tempered or seems ambivalent, do not take it personally. It may be their nature or they may be dealing with problems or previous actors who tested their patience. Stay pleasant, positive and do your work.
- “Get centered” before starting your audition. Breathe, take one or two seconds before beginning or find your own way to “get centered” but don’t take a self-indulgent period of time to begin. Don’t be influenced by the anxiety or negative energy of those running the session.
- Do not rush your audition. When actors are nervous or “in their head,” many speed up the dialogue or their improvised scenarios. When actors are connected and focused, they don’t rush. On the other hand, don’t speak really slowly or take long pauses between the lines.
- Stay Focused. Whether you are auditioning for one person or a group, reading into a camera or speaking to an actor or a few actors, auditioning with a bad actor or a great one, in a small room or a large theatre, stay focused and don’t allow unexpected incidents to upset you and/ or put you “in your head.” No matter what happens, go with it and adjust quickly.
- Motivate Out. For improvised and scripted on-camera scenes, when possible, find a way to “motivate out” your actions and/or dialogue at least fifty percent of the time to maximize your facial exposure.
Most new actors constantly look at their partner(s), which keeps them in profile and they are upstaging themselves. Don’t cheat out. Learn out to “Motivate out.”
- Look into camera. When auditioning with a reader and told to do the dialogue looking into the camera, don’t look back and forth between the two. It makes you look nervous.
- Use the cue cards when needed. Most actors feel they will do better if they memorize the audition dialogue. That is true for many but if for one millisecond you are not sure of it, LOOK AT THE CUE CARD. It is there to help your audition. If you are convinced you know the copy and are stubborn about looking at it then you will go in your head to try to remember and will often loose the flow of your audition.
- During the read, trust and commit to your instincts. Unless given a specific direction, don’t consciously perform anything you rehearsed. Some of the choices that you rehearsed might not feel right in that moment. Don’t interrupt your instinctive interpretation trying to perform them. Allow for your read to flow – you will most likely organically do most of what you rehearsed. When you are connected and “out of your head,” you are open to instinctive moments that are often better than those you planned.
- Ask to do it again. When you feel your solo audition was lacking or if you have another interpretation that you would like to do, politely request, “If you have time, I would like to do it again” or “do another interpretation.” It is not a foul to ask. If they refuse, say “thank you” (mean it) and leave. It’s worth asking.
There is a lot involved in learning to do your best at commercial auditions. For additional insights and tips, check out my book Hit The Ground Running @ www.hitthegroundrunningbook.com and for more information on Commercial Acting Classes: http://carolynebarry.com/workshops/commercial/
How to Dress for an Audition
By Master Acting Teacher ~ Diane Christiansen
There are really no hard and fast rules about how to dress for an audition. For a long while, I thought the one absolute was to never arrive to an audition dressed in costume. Then I received a note from casting to come dressed as much like a voodoo gypsy as possible. Another audition notice I received instructed me to wear scrubs for the role of a nurse. Then of course, there are all of those stories of how celebrities landed some of their most memorable roles by “looking the part.” Katey Sagal created her signature look as Peggy Bundy in Married With Children by wearing her own red bouffant wig to the audition. Dorothy Dandridge had to shed her sophisticated image in order to convince Otto Preminger to cast her in the Oscar-nominated role of Carmen Jones by arriving to the audition oozing sex appeal in a brand new getup fit for a “hussy.” And just this past March, Eva Mendes was featured on the cover of Backstage magazine discussing how she is “breaking out of the bombshell box” in an upcoming drama. For her audition, she wore a baggy t-shirt and jeans, no make-up, and unkempt hair in order to look like her gritty, no frills character. Even young Jennifer Lawrence was told, at 16, that she was too pretty for an early film role, so after her audition in L.A., she and a parent flew all night to N.Y., to follow the Casting Director and arrived with no make up, uncombed hair and unkept. She convinced them. (Bold Parents!!) I guess that means the rule about looking your best for every audition is up in smoke too.
So in the absence of any absolute rules about how to dress for an audition or any explicit direction from casting, the best advice is to look to the script for clues. As you are preparing your role, you should begin to get a sense of who your character is, including how he/she dresses. As with any choices we make in acting, the choice of dress should be a strong one. Your style of dress may not rise to the level of costume, but it should definitely suggest who this character is, even before you speak your first line. Neglecting to make a character choice about what to wear may cloud the picture of you in the role, particularly if your personal style contradicts that of the character. Or worse, dressing haphazardly may inadvertently send an altogether negative message about your level of professionalism. Right or wrong, making a strong choice for your character, in style of dress or otherwise, will at least convey commitment to the role and possibly pique the interest of casting. So dress for success!
Blue8 Productions
Blue8 is an action-adventure training facility and production company comprised of top stunt performers and athletes in multiple fields including: Parkour, Martial Arts, Yoga, Dance and Military Special-Operations. We encompass these dynamic arts into one practice that prepares our students for anything the entertainment industry can throw at them. Our faculty and company member credits include shows and films with HBO, NBC, ABC, Syfy, Discovery Channel, TNT, & CBS.
Interview with CD Carol Goldwasser, Part 3
This is the final installment of my 3 part “In the Moment” interview with Award Winning Disney casting Director, Miss Carol Goldwasser. The wonderful thing about Carol’s insights in this interview that separate her from others, is her realistic approach to working with and getting the most from child actors. Not that her comments aren’t relevant to actors of all ages. It’s nice to know that she sees the extra special care needed when drawing out the best performances from kids and teens. Especially when the child actors and teen actors are often the most free. Enjoy the interview. I know I did.
Diane: Welcome Carol, it is so good to have you here for the second of our 3 part interview today.
Diane: How is casting Kids and Teens different from casting adults?
Carol: You really have to give them more leeway and more coaching. A question that I get asked a lot when I teach is “would you give that same redirection in an audition room?” And my answer is usually, “it depends on how many people I have in the waiting room and how interested I am.” You really have to give kids the benefit of the doubt. You have to guide them along. Adults, hopefully, have come through a conservatory program or an acting program and will come in having made certain choices; you’re physically right or wrong, or you’re funny, or not the right quality or you are the right quality. I have to be more flexible with kids and lead them by the nose. When you direct them they will understand and take your direction but they don’t necessarily come in with the choices so I have to give them a lot more room to find it. Casting is a compromise as is, it’s not going to be exactly what the producers and writers envision. As a casting director you have to let them know that. Maybe an actor doesn’t have all of the elements of what you envisioned the character to have, but he’s 14! Can we make some adjustments to what he brings in the room? Can we put him with a coach and coach him through the testing process? On one of my pilots we had to do just that. There was an actor that we felt had 80% of the qualities for the role but he definitely needed work on his acting skills because it was a role that required not only acting skills, but singing skills and dancing skills and instrumental skills. We had him work with a coach through the audition process. We really had to take it home. This has happened on more than one project. You really have to work with them to get them there, especially for a series where you are banking on this person’s ability to perform and have the appeal to get the audience. It’s not just one episode. You are trying to build the skill or get them to a place where you see that this is someone who is going to bring viewers in for 3 seasons. It sounds like a very daunting process but it is actually fun! The whole process of playing comedy and learning comedy is a lot of fun. If it’s something that you’re interested in you should take advantage of all the training that’s out there, both online and in person. And you know, jump in and see what you can get from it!
D: I agree! Training, training, training and some more training.
C: Yes! Training is so important. Auditions are pressurized situations and if you are in your class on a weekly basis, when you go in for an audition you think “this is what I do. I say words. I enact a character.” It doesn’t feel as if you’re so invested or freaked out in that one situation because this is what you do on a weekly basis. You’re open to taking direction because it’s what you do in your classes every week.
D: And collaborating and making choices and all of the things that Actors of all ages need to do.
C: Exactly.
D: I want to thank Carol Goldwasser on behalf of all of us because I’m sure that there’s so much that we’ve all learned here today. She’s a wonderful resource for really knowing how to audition for Children’s television. So tune in next time and thank you so much for joining us! We’ll see you at Diane Christiansen Coaching. Give us a call! www.DianeChristiansen.com
Interview with CD Carol Goldwasser, Part 2
After 22 years of teaching and an equal number of years working in the Entertainment Industry, I thought I knew quite a bit about casting. Additionally, we have guest CD’s in for our monthly casting director workshop, Actors Platform, at our studios and we learn a tremendous amount about what goes on in the audition room. But Carol really has some great new information in this interview. Actors of all ages ~ LISTEN UP ~ this one you do not want to miss, because Carol has some very valuable information to share in regards to the casting process that even I didn’t know!!
Diane: Welcome Carol, it is so good to have you here for the second of our 3 part interview today.
Carol: Thank you for having me.
Diane: When a young actor comes in to audition for you, does their talent, their resume or their look matter the most?
Carol: Most of the time, when a young actor, say 5 to 8 years old comes in, because I do have to cast actors that young, their credits don’t matter. They could have only done some print or a commercial, then if I see a talented 5 or 8 year old, as long as they have a look, or a funny personality or a quality that works, then we’ll cast them. When I’m casting teens, 12 to 14, L.A. is a competitive market, and I will look at their resumes to see if they have done any other comedy TV shows in town. I’ll see “Oh, well so and so cast her on this or that, and I will notice” Because there are other Casting Directors in town whose work I respect, and I will take note. But if it’s one line, say a cheerleader, if she has the right look and can execute the line as it was written, then it will be equally about the look and the delivery.
D: What is a NO NO in the casting office?
C: Don’t touch the casting director! I mean, I work with kids and teens of all ages and now and then, a young child will want to give me a hug at the end, I don’t worry about that, that’s harmless. But if sometimes, experienced adult actors come in and get down and start acting out a part of a love scene with me, I’ll be like, “No no, you don’t go kissing the casting director on the ear”. That’s a NO NO! You know, I get asked about my pet peeves a lot. One of mine is when an actor comes in and says, “I just got this”. Which, to me, sounds like me and my office didn’t get it to them in time to adequately prepare. If an actor just got this, then everyone else in the waiting room just got this because WE just got it because the writers did a rewrite overnight. So, everyone’s in the same boat and if an actor comes into a Producers session and says “I just got this”, I have to do an internal eye roll, because the feeling is like a DIS to the casting director. Unfortunately, auditioning is part of the job and preparing on short notice is part of the job and when you get on set, you’ll get revisions every day, so you have to be fast on your feet, that’s what you get paid for. It’s not like theatre, where you get 8 to 10 weeks of rehearsal, you get line when you get to set, and you have to be quick. So, that’s a NO NO.
D: Would you encourage or discourage props at an audition?
C: Most of the time I don’t like them because I feel like it takes away from the actor. If the audition becomes about the coffee cup and not the actor. One exception I would say would be in a phone scene, it’s more distracting to see an actor mime a phone than to use one. Because phone scenes are so common now, that when an actor says “Can I use my phone?’ I say yes because it looks weirder to not use it than not to use it. But don’t bring in any bananas, or Frisbees, or fire hoses!!
D: How do you feel about miming in an audition?
C: As long as I don’t feel like I’m watching Marcel Marceau, I’m fine with it. If people are doing a little bit of business in a scene, to support the scene, then I’m fine with it, as long as they’re finding the balance between the action and the dialogue. It can be distracting when it becomes more about the miming and not the communication. There are certain scenes that seem to require it, I mean, I haven’t worked on anything like this for awhile, but when I was casting Medical dramas and things like that, when there’s a lot of business going on in a scene, it seems like you need to add some movement to make that scene live, whether or not it is a little bit of action or exact movements. If it’s single camera, people become so used to staying in frame, they are very still. We will actually encourage people to enter and exit in and out of frame because when we shoot on set, it’s in front of an audience and we are going to see that actor move and at the audition, if they are framed very tightly, then they get on set and we see them walk, and if that actor walks funny, we’re like “OMG we don’t want to see that”, so I do think it’s important to add some movement in the audition.
