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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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/
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.
Commercial Agents: Being A Represented Actor
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 Improvisation 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.
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/
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/
Building Confidence – A Must for Actors
Actors don’t have tangible products to sell. Each is their own product and they must believe in and have confidence their talents and themselves or there is nothing to sell. Confidence is essential for everyone but it is crucial for actors and performers. Vanity, arrogance or egotism is not confidence. They are usually facades for someone who lacks it. If you are honest with yourself, you know the difference.
Confident is just who some actors are. Others may have had support from family and friends and/or from of multiple successes. For most, the lack of confidence is an issue that needs to be worked on. Lets start by considering the value of building your confidence. I believe:
- • Experience creates confidence. The more you do anything, the more experienced and skillful you become. So the more you properly study, rehearse, audition and work, the more confident you are about your craft.
- • Confidence produces freedom. With real confidence, you do not worry about what others think or failing thus you have the freedom to be courageous and you.
- • With Freedom, your talent can shine. When actors get auditions, sign with an agent, receive good feedback or reviews, get callbacks and book jobs, etc., it helps them to feel confident. Unfortunately, these events are dependent on the acceptance of others. In that case confidence can come and go without these “wins”.
Here are my suggestions that are helpful in building your confidence:
Train with professional acting teachers.
When you honestly know that you have a solid acting training, you can believe in your craft.
Take improvisation workshops.
In professional improvisation classes, you learn to trust your instincts and commit. Once, you get over your fear of making mistakes, you experience that they are fun and that great moments come from messing up. This progression helps you to learn that no matter what happens in class or in life, you can handle it. This type of training goes a long way in building confidence.
ALWAYS BE prepared.
Whether putting up scenes in your classes, auditioning for jobs, or working as an actor, always be as prepared as possible. When you are unprepared, most will feel insecure about their work.
Acknowledge yourself for your successes.
Most of us are quick to find fault with ourselves and what we do. I strongly suggest that you ALWAYS take a few minutes to acknowledge yourself for what was accomplished or when you have done your creative best whether or not you get the job or the positive feedback you desire. This is really important for building self esteem. When you can be totally supportive of yourself, you will not be dependent on others to feel successful. And while you are at it, acknowledge others. It is great for them and reminds you to always do it for yourself.
Learn from mistakes.
We are human and we all make mistakes especially when we are moving into uncharted waters. Most learn more from their mistakes than from successes. So I suggest you look at mistakes as lessons and as gifts instead of emotionally beating yourself up when you make them.
Avoid negative, jealous, angry or bitter people.
Those we surround ourselves with affect how we feel about ourselves. As much as possible lose all the disempowering people in your life.
Have a full life:
The more fun and stimulating activities we are involved with the less pressure most actors attach to having to prove themselves.
Stay out of debt.
Too much pressure is put on booking work when actors have money problems. When your financial life is somewhat in balance, you go into auditions without the pressure of needing the money.
Enjoy your “survival” job.
If you have a job that you dislike, that can create negative feeling about yourself.
I truly believe that if you follow these suggestions to help build your confidence that it should have a powerful affect on your ability to feel good about yourself, thus do your best auditions and get acting work.
