Casting Directors – Page 3 – Master Talent Teachers

In the Moment: Interview with Children’s Network Casting Director Carol Goldwasser

April 25, 2014/in Featured Video, Kids & Teens /by MTT

Have you ever wanted to know the ins and outs of casting Children’s TV, such as Disney or Nickelodeon shows? Well, you’ve come to the right place, because today we have the Award Winning casting director, Carol Goldwasser, here for Part I of an interview with me, Diane Christiansen, exclusively for Master Talent Teachers.

Carol’s tips for kids, teens and even adult actors are so invaluable if you really want audition advice. She has taught me a thing or two in these interviews that even I didn’t know. You can never stop learning, right?

Diane: Welcome, Carol, it’s so great to have you here, thank you for joining us.
Carol: Thank you for having me.

D: We should get started, because there is a lot that our viewers and readers want to know about casting Disney shows and you are our gal. What made you decide to cast kids and teens TV?
C: Well, it was more like the Universe decided for me. I was working more in Network Television, in comedy, with a partner, and we were looking to expand our business and we sent our casting resume to one of the Children’s Networks. We got hired on one project and then we had some fairy dust on us from that because it was a highly successful project and the work just kept coming and we never looked back. We both work solo now and the work has pursued me. It wasn’t necessarily a choice that I really pursued in a major way, but once I got into it, it felt comfortable, it feels good and I enjoy it, obviously, because I’ve kept doing it.

D: What has been your favorite project to work on?
C: Probably a Disney XD show called “I’m with the Band”. Even though it was a children’s show, it had a lot of adult series regulars. The writing was more sophisticated, but it still played to kids. It had a lot of physical comedy. It was like the 3 Stooges in a rock band. So, it was a really just a group of people who really gelled and who came to the set each day and had a lot of fun. So, I could cast adults as well as kids and teens and it was just a great experience. Interestingly, it was probably the least successful show I’ve worked on, but it was such a joy to show up to work every day. My impression was that the Network hoped that it would be a real flagship show to luring a lot of boys to that Network. They see that as the Network that attracts boys. The Disney channel being the one that’s more girl oriented and Disney XD more for boys. But, for some reason, the numbers didn’t support it continuing. I guess, even though it was joy for the adults to work on, maybe the fact that there were so many adult regulars meant that the kids couldn’t connect as much to what they were seeing on screen. That’s their formula, that the protagonists on the show are actually the same age as their audience.

D: What makes an actor stand out in the audition room?
C: When someone comes in, and this happens with kids and teens a lot, they are looking to me to give them the keys to the Kingdom. They’re looking to me to tell them this is where the joke is or this is how the character is. When someone comes in and they show ME how the character should be played and they not only find every joke on the page, but they elevate the material and they add stuff of their own that really makes the character sing. Then you’re like, “Well, my job is done”. That’s when it’s a joy and that’s what makes people stick out. When they commit to the character, they make choices – sometimes the choices are surprising, but comedy is surprise! I always think comedy is much more difficult to cast than drama because you actually have to find people who can deliver comedic material. In drama, if you look a little bit like what the Producers are seeking, you have a naturalistic acting style and you understand the rhythm of that particular writers words, then you move the exposition along. That’s pretty much what you have to do. In comedy, you have to do all that AND land a joke and in multi-camera sit com, which is the bulk of what I work on, for kids Networks, there’s a rhythm to the language and it’s not honestly naturalistic at all. It’s very theatrical. It’s much harder to come in and nail a comedy audition, I think because it requires a very specific kind of work. You have to understand what the rhythm is, understand where the jokes are and you have to have a little extra something that makes us want to watch you, that makes us want to hang with you and makes us want to turn on the TV set.

D: Like a naturally funny person.
C: Exactly. You’re right and you know you hear people say comedy can’t be taught. The elements of comedy can be taught. But if you read a page and you don’t understand “funny”, and you don’t know where the jokes are, you probably won’t be cast as a funny actor. Unfortunately. I read comedy scripts for a living, so when I read a comedy script, it’s like a road map to me. It’s like joke, joke, joke and I understand where they are. But someone who is unfamiliar with comedy material doesn’t necessarily do that. But if you have a comedy kind of mind and you have a bent for comedy, then hopefully the particular comedy gimmicks can be layered on top of a natural affinity for comedy.

To be Continued…

This has been Part I of a two-part interview with Carol Goldwasser. We wanted to thank you for joining us and invite you to stay connected at MTT for Part II. Have you subscribed yet?

Carol has had 5 nominations for Artio Awards, which are given out by the Casting Society of America (CSA). She’s won two times. Once for outstanding achievement in Children’s Casting Series programming for Hannah Montana and once for Best Children’s TV Programming, also for Hannah Montana.

Why You Won’t Book the Commercial

March 17, 2014/in Commercials /by MTT

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?

March 14, 2014/in Commercials /by MTT

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

How to “Pop” at Auditions

February 18, 2014/in Newsletter /by MTT

By Diane Christiansen

Auditioning is hard. It is arguably the most difficult aspect of acting. The actor’s imagination must be at it’s sharpest during the audition. You must be able to walk into a bare room and completely transform the environment and energy of the space, leaving an indelible impression on your observers. In other words, you need to “Pop” at every audition. Here are a few pointers to help you get poppin’.

Treat each audition like it’s the first rehearsal. You know that excited feeling you get during your first rehearsal for a production? The security of knowing that you’ve already landed the role allows you to just relax, have fun, and be creative. You might find yourself taking chances and playing with new choices until you land on one that feels right. This is the same worry-free abandon that you need to bring to the audition. Think of it less as an interview and more as a collaboration between you and whoever is in the room. Go into the audition knowing that you have already done the necessary preparation of your character and be ready to play with your fellow collaborators. Not only will your positive energy be infectious, but you will also give a better performance as a result of swapping the audition tension for first rehearsal enthusiasm.
Find opportunities for nuance. Think fine point details rather than sweeping brush strokes. Finding moments to make your own unique mark on your character will speak volumes in your performance. Don’t overlook the obvious choices readily evident in the script, but also look deeper into the subtext behind the written words. You may discover alternate interpretations of the lines that only you will find based on your own personal experiences and perspective. As a result, you can make the material your own by bringing an interpretation that only you can to the audition. Whether your interpretation is consistent with what the director wants is less important (at least on the first read) than making a committed and nuanced choice that will leave an impression different from anyone else.
Take control of your audition. From the moment you walk into the room, let it be known that this is not your first rodeo. Be a professional. Be confident (or at least fake it!). Greet each person in the room as you enter and say thank you to everyone as you leave. Feel free to set parameters to get you in the proper mind space for your reading. Let your observers know if you need to take moment before you begin and if you will sit or stand (if the option is yours). Make eye contact with each person at some point while you are in the room, so that every individual there knows that you have seen them and so you know that they have each seen you too. Remember, over the course of a full day of auditions, it can become increasingly difficult for casting to distinguish one person from the next. Auditions may start to run together as fatigue sets in and attention wanes. You have the opportunity to fight against the monotony that casting may experience by making a specific connection and giving them something interesting about you to remember. Of course, your performance should be memorable all on it’s own; however, given two equally great performances from different actors, your personality, poise, and professionalism may break the tie. Talent is certainly a prerequisite for the best roles, but people also have to like you and want to work with you. So steer the course of your audition to ensure that you are being represented in your best light.

Confidence

February 11, 2014/in Newsletter /by MTT

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.