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5 Reasons You Wont Book the Commercial

Why You Won’t Book the Commercial

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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.

Who Books Commercials and Why?

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Once you have done your callback and leave that is when the director, agency execs, producer and maybe someone representing the client start the process of selecting who will book the job – whether they are in the room or via a video feed. I am sure you have wondered how the final selection is made: what is considered, the politics, who has the decision making power and what happens during those few days you are waiting to see if you booked the job. Read more

Confidence

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In the acting business, actors must have confidence in their talents and themselves in order to deal with the challenges and always be able to bring their best game to their meetings, auditions and work. Confidence is an essential “personal tool” for everyone but especially for actors and performers.

For many actors, confidence is innate. For some, it may be cultivated by family and friend support and/or life experiences. For most, confidence needs to be nurtured and developed.  If the later is you then consider this theory that I believe works:

  • * Experience creates confidence.
  • * Confidence produces freedom.
  • * Freedom generates courage.
  • * Courage frees up you and your talent. 


The more you do anything, the more experienced and skillful you become. So the more you properly study, rehearse, audition and work, the better actor you are going to be.

Actors gain confidence when they have successes and “wins”: when they get auditions, secure representation, receive good feedback or reviews, get callbacks and book jobs, etc. Unfortunately, these successes are dependent on the acceptance of others thus it is unreliable and a shortage of achievements can undermine it. 


Confidence in your talent is powerful and depends mainly on your willingness to take chances, fail, learn, get up and do it again AND always be supportive of yourself. (A great class that helps build confidence is a professional Improvization workshop.) With confidence developed through challenging experiences, you are not dependent on anyone else to feel successful.
Do what it takes to build your confidence. It should have a powerful affect on your ability to feel good about yourself, thus do your best auditions and your best acting work.

Commercial Improv

Improvisation Training: Vital to an Actor’s Career

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When actors interview with me before taking my commercial class, I always suggest that they the take a workshop either before, during or immediately after they take a commercial class. Improvisation, or improv, will help actors to get more Commercial auditions and is a major factor in doing better auditions and, I believe, is crucial to a commercial actor’s career.


As a commercial actress, I have booked over 400 national commercials and I truly believe that I got many of those jobs because of my Improvisation training. When I first started doing commercials there were no actual commercial audition training workshops so I studied acting and then started doing Improvisation classes – which I loved. I quickly saw that the freedom and confidence I was getting from the Improv work was helping me do better at my auditions and thus I started booking even more jobs.

Granted that era was not anywhere as competitive as it is now but I do know that Improvisation training is even more beneficial and vital today then it ever was then for several reasons:

First of all, so many auditions today do not have dialogue and require Improv skills therefore commercial agents are more interested in actors (especially new actors) who have professionally studied improvisation because agents know that it will be easier to them auditions.

There are more non-scripted commercials being cast then ever before so casting directors usually want actors who are good with improv. Legally SAG/AFTRA does not allow actors to Improvise dialogue at their auditions so actors will probably never be technically asked to “improvise” but in actuality that is what they will be doing – verbally creating their own dialogue and/or scenarios. AND those who study Improv usually do so much better at those auditions.

There are more non-scripted commercials being cast then ever before so casting directors usually want actors who are good with improv. Legally SAG/AFTRA does not allow actors to Improvise dialogue at their auditions so actors will probably never be technically asked to “improvise” but in actuality that is what they will be doing – verbally creating their own dialogue and/or scenarios. AND those who study Improv usually do so much better at those auditions.

Find a teacher or institution that specializes in Improvisation. A lot of studios mix in the Improv training with acting, commercial and cold reading. This is not really offering the maximum value of studying Improvisation. Then, some teachers offer it as an on-going class. There are several problems with this format.

I strongly believe that Improvisation should be a second training workshop along with your acting class. Your acting training is focused on the techniques specific to whatever discipline of training you choose – motivation, emotional connection, subtext, character life, pre-life and after-life, etc. Whereas good improvisation training focuses on creativity, commitment, listening, trusting instincts, supporting the other actor and building confidence. When both acting and Improv are studied at the same time, you will get more out of your acting class and you will be ready to start auditioning sooner.

At the start of the Improv classes that I offer in my program, actors talk about how nervous they are about taking an Improv class. Most are concerned that they are not funny, or creative or instinctive. A good improv class does not push you to be funny and when you are “in the moment”, not thinking or planning and being instinctive , most actors find that they are creative and often funny. Improv is about freedom and it is a process that is achieved in a safe space with a really good teacher who creates a supportive NOT a competitive environment. Don’t we all want that feeling of freedom in our acting as well as our life.

COMMERCIAL BOOKING SECRETS

Ever wonder how they choose the actors they book on television commercials? Is there some secret determining factors that influence the casting decisions? There is -and I think it is important to for you to know what it is. From years of being a working commercial actress and booking over 400 commercials, having done the casting for over a thousand TV commercials and being a commercial audition teacher since 1983, I strongly believe that there is a formula for why actors get commercial callbacks and bookings. I know it isn’t carved in stone or even the exact way the director, ad execs and clients would verbalize but I REALLY believe that this is basically the formula.

60 percent of why actors get callbacks is their physicality – what they look like. Since those chosen must represent the client’s target market and must be a strong physical representation of the character they are portraying.

20 percent of why actors get callbacks is their talent and creativity – what they actually do on the audition whether it is an improvisation or a scripted monologue or a scene. The decision-makers look for actors who are believable, unique and/or their work

The remaining 20% factor, is the actor’s confidence, personality and essence which usually needs to match up to the actor’s look. This is the factor that most actors don’t consider and often don’t understand.

Now, let’s say the actor is a great physical type for a particular commercial and does a great audition but he/she comes off arrogant or too silly then he/she will probably not get a callback.

Or if he/she is really approachable and likeable (which is important for most commercials) and is the perfect type but overacts on their auditions (which happens way too often) then again, he/she will not get a callback.

Now when it comes to getting the booking, the numbers change a little, since there is some agreement between the ad execs and the director on the looks of those being called back, the importance of the actor’s physicality is still important but now since it is still subjective, it is about 30%.

What also is relevant in the “looks” area is when it is necessary to match actors with spouses, friends, workers or family.- the consideration becomes, Do they look like they belong together. What the actor does in their audition, how they take direction, their creativity and talent now becomes the prominent factor at 40%..

The actor’s attitude, personality and essence factors comes in at 20%..

And finishing up the BOOKING equation are wildcard factors: it could be anything from the actor’s wardrobe (which one of the decision-makers really likes for the spot) to any of the execs or director having subjective preferences or dislikes. There are too many subjective wild card factors to cover here but I am sure you can imagine some.

This information should help you to not take it personal or think you did a bad job when you don’t get a callback or booking. And it should help you have the insights you need to put the odds in your favor for booking commercials. And by the way a lot of this is also applicable for booking smaller roles in film and TV.

Commercials: solo dialogue

Audition Tips for TV Commercials – Solo Dialogue to the Camera

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A challenge with monologue or solo 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. Read more

Look Before You Leap into Commercial Auditions

Look Before You Leap Into Commercial Auditions

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Commercial Audition Training – Lots to Learn

When I interview people before taking my classes, so many tell me that they have been told to start their acting careers by training for commercials. I would like to silence all those who are perpetuating this disempowering misconception. They are destroying acting careers before they even start. But I do understand that when most people look at actors in commercials, it looks so easy. It is no wonder that many think that it is a way to break into acting, be seen and make lots of money. Yes, it is fun, creative and can be lucrative. Most working commercial actors can make it look easy because most are pros. As you will discover, there is a lot to do, learn and know before starting to audition well and book commercials.

WHEN TO START: I strongly believe that you should study acting for a year or so and Improvisation for a good six months (at the least) before doing a commercial class. Then you will be more prepared to go get a commercial agent and start auditioning – hopefully, while you continue to professionally train consistently. I believe that when people start auditioning too early, it often creates major problems with craft and confidence. And when those actors do less than stellar auditions, there is a good chance the casting directors they audition for will choose not to see them again, even in the future after they train and improve.

Although, I do have lots of students with little or no training take my beginning commercial workshop. And, I also have agents send me total beginners (who are great commercial types) to learn enough basics to be competent at their auditions. AND after the class, many of these rooky actors who are good commercial types and/or have strong performance talents or skills, do book some work. On the other hand, from years of experience, I am convinced that those who want to book lots more work, plan to have an acting career and want to feel secure about their craft need to prepare and train first before jumping into the commercial arena.

MISCONCEPTIONS and CHALLENGES: Many feel they don’t need to study acting first or that after they book a few commercials, they will use that money to study – I truly believe that thinking is ass backwards. Don’t be fooled, this is a commitment and requires more than you know. Before pursuing any venture, you really need to understand what is involved, Here are just a few of the issues rookies as well as trained actors should know about before auditioning for commercials:

  • GETTING AN AGENT: Getting a good agent can be challenging. Agents are inundated daily with dozens of pictures and resumes of actors who want commercial representation.
  • COSTS: Between training, commercial wardrobe, photos, a website, reproductions, casting sites and mailings, it can get expensive. Plus, by working a job that gives you the flexibility you need to audition, your income usually will not be as good as if you had a full time job.
  • TIME CONSUMING: Depending on the location of the casting facility, each audition will normally take on the average of 2 ½ to 4 hours, to travel back and forth, park, prepare, wait and do your five minute audition. And often but not always, actors go out on dozens of audition before booking one.
  • HIGHLY COMPETITIVE: Getting auditions is very competitive. There are hundreds to thousands of actors submitted for every role. Only 80 to100 are seen each day per role. So you have normally a 10 -15% chance of getting an audition when submitted.
  • MONEY EARNED: The money that most new actors think they will earn form booking a commercial is not always the case. It depends on many factors whether the commercial is: union, non-union, local, regional, national, international, one spot or multiple spots, the number of actors, on-camera or voice-over, buy-out and/or residuals. Actors can earn anywhere from a few hundred to (in rare cases) a few hundred thousand dollars doing a commercial.

My main intention in laying out these misconceptions and challenges is not to discourage you from pursuing commercial work but to help you avoid the pitfalls that can make it difficult to make a good start. There are many more misconceptions and challenges you should be acquainted with before jumping into beginning your commercial acting endeavor, do watch my Look Before You Leap Into Commercial video.

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

Commercial Agent Representation – Submissions

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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 TO COMMERCIAL AGENTS

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.

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/