Booking TV Commercials
How does one book TV Commercials? Well, you’ve got to start with training and become a good actor! Master Talent Teacher Carolyne Barry has compiled this video to help take you through the process.
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Insider Casting Tips to do Your Best Auditions – Part 2
The Audition Room
Inside the Audition Room is where all your training as an actor and your preparation come together so that you can do your best and hopefully book the job – OR NOT.
What the heck happens in there that often inhibits us from doing our best? The following audition pointers were formulated from personal audition experience, teaching thousands of students and observing actors who have auditioned at my casting sessions. I truly believe these tips will serve 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 otherwise, you might miss information.
- • If clarification is needed, ask questions. Questions are only irritating when they are unnecessary. Their answers will help you to do a better audition for them.
- • If they talk to you or ask questions, don’t second-guess what they want to hear. Just talk to them as opposed to trying to impress.
- • If the session director or CD is rude, short-tempered, rushed or seems ambivalent, do not take it personally. Remember, when “the powers that be” watch your video audition, they will only see you, not the irritating session director.
- • Don’t allow yourself to be rushed. Before you start your audition, “get centered.”
- * Breathe, take one or two seconds before beginning or find your own way to “get centered”.
- • Do not speed through your audition. On the other hand, don’t speak really slowly or take long pauses between the lines.
- • 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 toward camera. In on-camera improvised and scripted scene auditions, when possible, find a way to “motivate out” your face, actions and/or dialogue at least fifty percent of the time to maximize your facial exposure.
- • 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.
- • During the read, trust and commit to your instincts. Unless given a specific direction, don’t consciously perform anything you rehearsed or that you have learned. Don’t interrupt your instinctive interpretation trying to perform rehearsed choice. Allow for your read to flow – you will most likely organically do most of what you rehearsed.
- • Have fun. Getting auditions is what you have trained and worked for – now enjoy the experience.
- • 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.” If they refuse, say “thank you (mean it) and leave. They may have loved what you did and don’t need or have time for a second version.
- • Don’t ask “needy” questions, e.g., “When are the callbacks or bookings? Should I wear this outfit if I get a callback? Should I keep the script?” Needy inquiries make actors look insecure.
- •Don’t be overly grateful or acknowledging. A simple “thank you” or “it was a pleasure reading for you” is sufficient. Much more might make you look desperate.
- • Unless they insist you leave the audition material, take it. Build a library of sides, copy and scripts that you can use for practice.
- • Let it go. When you finish the audition, those in charge will say “great” or “thank you,” which is your signal to leave. Just do your best, and when you leave, let it go.
Who is there in THAT audition room to help direct actors? Your guide, the person who can help you do your best audition is the Session Director. Watch my video featuring two top session directors and you will learn their insider “do’s” and “don’ts”.
Commercial Audition Callbacks, Part 2
There are dozens of audition technique tips I have given in previous articles and can be found on my partner page on Master TalentTeachers.com that would be really beneficial but right now the most valuable information I can offer to help you to do your best callbacks is offer some insights on Commercial Callback Anxiety.
Commercial auditions can be challenging for actors but callbacks are a cause of anxiety for most. The pressure is on because the decisions-makers are in the room, you know that everything little thing you do is being carefully judged, changes of direction are sometimes made at the last minute giving actors very little time to be secure with the adjustments, the money that you can make if you booked the commercial is often needed, and because it is a callback, the pressure you put on yourself to do well can be problematic.
Every audition especially callbacks are a precious opportunity to work, make money, create contacts and fans and move a career forward. When actors fixate on these expectations before auditioning, it normally creates anxiety and pressure. Don’t focus on disempowering thoughts and questions, such as:
Did I wear the right outfit? Maybe I should have done something different with my hair. Did I work on the material enough? I hope they don’t notice that my skin is broken out. How many people will I be auditioning for? Who are they? Will they direct me before I read? What will they ask me? What should I ask them? Will they think I am physically right for the role? I wonder if the reader is going to be any good? I haven’t seen this CD for a few months – maybe she doesn’t like my work. How will I do? Will they re-direct my reading? Am I right for the role? What will they think about my audition?
Many of these thoughts flash quickly through almost every actor’s mind and especially those who are new. These are the same types of concerns that people usually have interviewing for any job. At callbacks, because the stakes are raised, the concerns get more intense for most. Actors who are unfazed at the initial audition often have callback anxiety. Now, the thoughts are
They must like me; now the pressure is really on. It’s only betweena few others and me; I have to be great. Will my agent (or manager) dump me if I don’t book this job? What did I do that made them call me back? I really need the money. My competition must be good. I hope I don’t “blow it” now. And so on.
This “brain-noise” is normal. How you deal with your questions, concerns and expectations will determine how much power those thoughts have. You must learn how to alleviate, use or quiet them, or they will take their toll on your work. I know great actors who can’t get out of their heads at interviews (and refuse to do anything about it), and their work suffers. I also know less talented ones who shine because they have very little “noise” and are excited to be auditioning.
What you think influences how you feel, and how you feel impacts your audition. With time and experience, actors usually figure out how to alleviate the self-imposed stress. In the meantime, work on your audition anxieties whether it is with self-help books, hypnosis, audition classes, coaching, therapy, talking with friends or teachers and/or developing a sense of humor about your disempowering thoughts – the sooner the better.
SUGGESTION: What you think produces feelings. The feelings are real but the thoughts you created are not real. So be careful what you are saying to yourself.
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/
Commercial Audition Callbacks, Part 1
DEAL WITH CALLBACK ANXIETY and BOOK TV COMMERCIALS
There are dozens of audition technique tips I have given in previous articles and can be found on my partner page on Master TalentTeachers.com that would be really beneficial but right now the most valuable information I can offer to help you to do your best callbacks is offer some insights on Commercial Callback Anxiety.
Commercial auditions can be challenging for actors but callbacks are a cause of anxiety for most. The pressure is on because the decisions-makers are in the room, you know that everything little thing you do is being carefully judged, changes of direction are sometimes made at the last minute giving actors very little time to be secure with the adjustments, the money that you can make if you booked the commercial is often needed, and because it is a callback, the pressure you put on yourself to do well can be problematic.
Every audition especially callbacks are a precious opportunity to work, make money, create contacts and fans and move a career forward. When actors fixate on these expectations before auditioning, it normally creates anxiety and pressure. Don’t focus on disempowering thoughts and questions, such as
Did I wear the right outfit? Maybe I should have done something different with my hair. Did I work on the material enough? I hope they don’t notice that my skin is broken out. How many people will I be auditioning for? Who are they? Will they direct me before I read? What will they ask me? What should I ask them? Will they think I am physically right for the role? I wonder if the reader is going to be any good? I haven’t seen this CD for a few months – maybe she doesn’t like my work. How will I do? Will they re-direct my reading? Am I right for the role? What will they think about my audition?
Many of these thoughts flash quickly through almost every actor’s mind and especially those who are new. These are the same types of concerns that people usually have interviewing for any job. At callbacks, because the stakes are raised, the concerns get more intense for most. Actors who are unfazed at the initial audition often have callback anxiety. Now, the thoughts are
They must like me; now the pressure is really on. It’s only betweena few others and me; I have to be great. Will my agent (or manager) dump me if I don’t book this job? What did I do that made them call me back? I really need the money. My competition must be good. I hope I don’t “blow it” now. And so on.
This “brain-noise” is normal. How you deal with your questions, concerns and expectations will determine how much power those thoughts have. You must learn how to alleviate, use or quiet them, or they will take their toll on your work. I know great actors who can’t get out of their heads at interviews (and refuse to do anything about it), and their work suffers. I also know less talented ones who shine because they have very little “noise” and are excited to be auditioning.
What you think influences how you feel, and how you feel impacts your audition. With time and experience, actors usually figure out how to alleviate the self-imposed stress. In the meantime, work on your audition anxieties whether it is with self-help books, hypnosis, audition classes, coaching, therapy, talking with friends or teachers and/or developing a sense of humor about your disempowering thoughts – the sooner the better.
SUGGESTION: What you think produces feelings. The feelings are real but the thoughts you created are not real. So be careful what you are saying to yourself.
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/
Book TV Commercials
You Are the Character
By: Carolyne Barry
Actors are trained to play characters. From when you first began to train, the focus was on developing and being true to the character. With theater, film and television work, the actor’s responsibility is to bring them to life. I believe it is different for commercials. Commercials are very short and the roles portrayed are targeted at a specific segment of the population. There is no time to establish a character in the majority of commercials. In a few seconds, it has to be clear whom the actors represent and their roles. Those watching must see a semblance of themselves in order to identify and be motivated to buy the product. This is why physical types and essences are almost as important as talent in commercial casting.
If you don’t play characters, how do you prepare? I strongly suggest approaching the parts as ROLES YOU play. You play numerous roles in your life? i.e: Employee, boss, friend, spouse or significant other, child, parent, neighbor, student or teacher, working person or professional, etc.
Many of these parts featured in commercials, are roles you are or have played in your life. (Those for which you are physically right but haven’t experienced should also be doable with a little work.) Approach your auditions using your feelings and reactions. Focus on how YOU would behave or react in the given situation not a character you create. It is easier, faster and you’ll have better results when starting with the premise that “You are the Character playing a role”.
Insider Casting Tips to do Your Best Auditions – The Waiting Room
No matter how good of an actor you are or how well you have prepared, once you enter the waiting area and then the audition room, if you don’t know how to “be” in that war zone then your audition work could suffer. Sitting in the holding area with a dozen or more actors, waiting up to an hour or being rushed in with little or no preparation and sometimes getting confusing direction can be very disconcerting and are not usually conducive to actors’ doing their best. Here are several actions that can be taken to help you feel confident, prepared and empowered.
Arrive early: Never be late or even on time because you won’t have options if the session is running on schedule. Be early so you can get settled and focused and have time to adjust your hair, makeup and/or wardrobe, and prepare the audition material. When you are early, you have options.
Ask questions: When you need clarification on the material or what is expected, ask the assistant who is supervising the sign-ins in the waiting area so that you can get the most from your preparation. If you are not sure how to pronounce a word or the product name, ask. If something doesn’t make sense, ask. It’s better to ask questions before rehearsing than to get corrections from the session director in the audition room and have to adjust your work right before auditioning.
Find Out the “Tone”: Every commercial has a style or “tone” that should be factored into the preparation. You might get answers like natural, comedic, quirky, over-the-top, fun/playful,serious, warm, upscale, authoritative, vulnerable, earthy, edgy, over-the-top, understated, etc.
Do your audition preparation: If you haven’t obtained your copy in advance, do your preparation: investigate, motivate, and find your connection and interpretation. If you did receive the copy and worked on it in advance, review your choices and work on your connection. Find a place where you can rehearse in a full voice.
Rehearse with your partner: When you are doing scene auditions, either the casting assistant will assign you a partner(s) or you should check the sign-in list and determine the actor(s) with whom you will probably be paired. This is especially valuable when auditioning with children. Rehearse with your partner(s) or, if there is no dialogue, spend time getting comfortable with them.
Work on several interpretations: Locking in only one way of doing an audition can be problematic. First, it usually creates a fairly shallow interpretation. Second, if the session operator wants a different approach, it can be hard to shake the work you have locked in. Finally, if asked to do the copy or scenario a second or third way, you won’t have it. Work on several approaches.
Deal with your nerves: Every audition is a precious opportunity to work, make money, create contacts and fans and move a career forward. When actors fixate on these expectations before auditioning, it normally creates anxiety and pressure. Don’t focus on disempowering thoughts and questions This “noise” is normal. How you deal with your questions, concerns and expectations will determine how much power those thoughts have. What you think influences how you feel, and how you feel impacts your audition.
Stay relaxed and focused: After you have done a thorough preparation and while you wait, don’t continually run your lines and review your choices, either out loud or in your head. It’s been my experience that when actors do this, they create anxiety and make themselves insecure. Don’t let the frustration of having to wait negatively affect your mood, energy or mind-set. Do whatever works to keep you focused, confident and positive, e.g., meditate, sit quietly, read, laugh, walk around by yourself, etc. Don’t chat with other actors unless
rehearsing or getting comfortable with them. When you know that you will be next, review your choices, lines, objectives, motivations, etc. – but only once or twice more.
Energize and prepare to commit to your choices and instincts and to enjoy the audition. It’s your time to be an actor.
Why You Won’t Book the Commercial
Even when you did a great audition
I am sure you have wanted to know why or why not you do not book Commercials when you feel you have done a great audition (and even when those running the session have let you know you did a great audition). You might get an avail or are put on “Hold” but then you don’t book the job. It can be very frustrating. Often there is no definitive reason so I believe it would be helpful for you to understand some of the business and subjective factors being considered that often have little to do with you, your talent or your audition.
Consideration that could determine why you will or won’t be cast:
Other Way To Go: When the commercial CD gets the breakdown and selects the actors for their session, many get creative and add actors who are “another way to go” for the role. And often, some of these actors could change the direction of the casting.
Role is cut or changed: When watching the casting, the director and/or advertising executives might determine that a part is not working and then could cut it out, replace it with another role or choose to go with a different type of actor.
Matching: When casting a spot with multiple actors, the matching or pairings need to look like they could be couples, friends, workers or a family. And yet in a group of friends, office employees, neighbors, etc., it is preferred those cast be of different ethnicities, physical types or hair color – because many commercials need to appeal to various groups of people.
Identifiable and Aspirational: Commercials need to appeal to target markets. The actors cast in the spot must be people that those the spot is designed for will find aspirational or will identify with. And thus is a major factor in the casting. This is why casting specs are pretty specific as to age, gender, ethnicity and physical types. Then, because these considerations are often subjective, each group of people doing the casting and various target markets could create diverse factors that would make different actors identifiable and/or aspirational for various products.
Chemistry: When matching couples, families, friends, workers, etc., they need to work well together and have a chemistry that creates the feeling that they belong together. And it is something that is there or it is not and it too is subjective.
Compromise: Those doing the casting are not always in agreement on who they like in a role. In that case, so that no one looks bad, they may choose another actor (who might not be as good or as right). It happens.
Personal Preference: Directors and advertising execs are human and have preferences. Sometimes actors might remind one of someone they like or don’t like or another actor that may be too recognizable. Casting preferences can work for an actor or against them.
Knowing these factors should help you understand that when you believe you have done a great audition why you may not book the job. I know it is frustrating and seems unfair but realize that these same factors that might work against you for one job might work in your favor for others. And in order for you not to take it personal and to protect your confidence, I suggest that you remember this, “You didn’t lose the commercial, someone else booked it” – this time.
