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walking into the Audition Room

Walking Into The Audition Room

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The audition begins for the viewers when the actor walks into the audition room. That first impression of the actor can determine whether the viewers want to take 3 minutes to read the actor – or not. They want to see a confident actor who is focused, prepared, and ready for the audition. They want an actor to take control of the room and make eye contact as they say “Hello”. They want the actor to solve their problem of needing to cast this part and, believe it or not, they are rooting for the actor. But, if the actor walks into the room looking down, mumbling, and looking like a deer in the headlights, the viewers will assume this is either an actor who is very nervous, unprepared or inexperienced. They have tuned you out and don’t want to bother reading you even before you say your first line.

The audition begins for the actor when they are in the lobby; BEFORE they walk into the audition room. Walking through the door should be “part of the act”….acting the part of a confident actor… even if they don’t feel confident. If the actor does not feel confident, they should fake confidence: “Fake It Till You Make It”. As you walk from the waiting room into the audition room, treat it as if you are going from the wings of a theater onto the stage. Get into your zone, bubble, mental focus…whatever you call it…and begin your audition as you walk through the audition door, a confident actor taking control of the room.

Behavior influences thought. If an actor feels nervous or unprepared before walking into the audition room, they should try imitating a confident walk or assume a confident stance. The “feeling” of confidence in the body fakes the mind into “feeling” confident. So when the actor is waiting in the lobby, before their name is called, their mental focus should be that of an athlete…focused and ready to walk into the room.

As the actor walks into the audition room, they should make eye contact and say “Hello”, entering the room in a hybrid state…NOT in character…but focused and ready to go. If an actor chooses to walk into the room “in character”, it can backfire in a big way. The part the actor is auditioning for could be described as a jerk, a drug addict or arrogant. If you say “Hello” as the character would say “Hello”…not as yourself…it is possible the viewers will think you are really a jerk, a drug addict or arrogant. I have seen this happen during my years as a Casting Director, and the actor needs to remember that just the act of saying “Hello”, may be the only moment that shows they are an OK human being who will show up on time if cast, be civil to their fellow actors, and will learn their lines.

The actor should take control of the room and make it their space for 3 minutes. A chair is usually provided for the actor to use if they would like, and moving the chair to where the actor would like it to be, is a great way to take control of the room. Right off the bat the viewers can see the actor has made choices and is prepared. Five seconds should be taken before the audition begins so the actor can make the transition from walking into the room… into the scene itself. The viewers also need this transition time before they watch the scene, so if chit-chat happens, taking five seconds helps everyone have a moment to adjust. There are four tools the actor should use during these five seconds to help with this transition…

(1) Sense Of Place: Where does the scene take place

(2) Relationship: Who is the character talking to in the scene, and how does the character feel about that person

(3) Intention: What does the character want at the top of the scene

(4) Pre-Beat: What happens the moment before the scene starts

Once the scene gets going, the actor should LISTEN to the reader! This is the best tool an actor can use in an audition. “Listening” grounds the actor in the scene instead of anticipating what their next line will be. If an actor is not “listening”, the viewers can see it…they will know that the actor is not “present” in the scene. The last tool in the actor’s audition arsenal, is RESPOND IN THE LISTENING. Most Television and Film auditions are put on tape, and the viewers of the audition tape only see a close up of the actor…they don’t see the reader. It is very important that an actor genuinely “listen” and “respond in the listening”, so when the viewer watches the tape, they can see the thoughts going through the actors head …they see an actor who is present and in the moment of the scene.

Walking into the room is a skill that can be mastered with a confident mind set and the use of simple audition tools. The actor should walk into the audition room as an athlete would walk onto the field, dive into the pool, or step onto the mound. Having the mental focus of an athlete will help the actor conquer the first step in the audition process…walking into the audition room.

You Got the Audition, Now What?

So You Get the Audition… Then What?

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I wanted to cover the topic, “What Does An Actor Do Once They Get An Audition?” From the point of view of a Casting Director, I see your picture and resume and decide to call you in for an audition. I know that each actor has their own process about how they prepare for an audition, but I’m not in the actor’s shoes.

So, I thought the best way to cover this topic was to go directly to some of the actors in my Audition Workshops and see what their tips are…

JD FERRANTINO: I get the sides and read it and read it and decide who the character is…searching for clues and hints and the gems the writer has given me. I decide what the moment is before the scene starts, where the scene takes place, who I am talking to…what my relationship is to this person…and what my intention is.

Often you don’t get a full script, only a breakdown is given describing the character. The breakdown is often very vague, so I need to mine the scene for clues.

NOSHIR DALAL: I often don’t quite get the tone of the scene or script, and one thing I’ve really been doing lately, is to look on IMDB (International Movie Data Base) to see who the writer of the script is. I see other things the writer has written, which helps me get a feel and tone for this script. I also look to see who the Producers of the show are as well, which can also give clues as to what the tone is.

SHARON MUTHU: I read the sides first, and if there is a script, I read that later to see where my character fits. When I first look at the sides I get a “gut” reaction about what’s happening and who the character is. So, when I then read the full script I will compare and contrast to see if my overall intention is right.

I’m one of those actors who tends to be over analytical…and then I could end up sabotaging myself.

JOSH LATZER: Most times when I get an audition, I’ll leave it alone unless it is the next day. I don’t like to over think it. But, I do prepare. Part of my preparation is that I read both parts out loud. I always work by myself, and it helps to hear the other characters lines out loud so you aren’t hearing them for the first time when in the audition room.

I try to trust my instincts.

BETHANY MANGUM: If I read the breakdown and it is nothing like me…like an Asian character and I am a Caucasian…I think, hmmmm…why did they call me in? Then I think…Why not me? The Casting Director called me in for the part, so maybe I can change their minds about it.

I read the sides, but do my best not to read the character description. Because I’ve done a lot of Theatre, I like to base my choices on text only. What is the writer giving you? Then I’ll read the breakdown, and if the description matches my choices then great….and if not…? I like to go with my “gut”, because that can change their minds. Have them re-write it for me!

BEN STILLWELL: First, I figure out how much time I have with it, and may give it a little less thought then if I had the audition the next day. If given a script and sides, I will read the script first and see how my character fits. Then I read the sides.

I figure out what Network it is for. I have messed up on that before. I have treated it like it was a FOX audition when it was a DISNEY audition and it was totally the wrong move.

MICHAEL GREBE: You should always prepare everything as if you were right for it. You can’t tell yourself you are not right, ever, because…who knows? I could go in and they say “Alright…I like that…the dimples and blue eyes!”

KAITLYN REED: I like to start really small. I work on bringing me as much as possible to the character. I tend to match breakdowns pretty spot on…so I might look at it and say, “This is so much like me, maybe there is something I’m missing.” I try to trust that it IS me, and that it’s fine.
Where in here can I make things me.

I will read the script later…I always go to great lengths to find it if I don’t have it…but, I like to start small and go through each moment.

For me, the relationship is the big thing, that and the moment before. When I get into the room…if things start to go out the window…even if I don’t know where I am, if I know where I am coming from and who I am talking to, I pretty much can’t go wrong.

HOLLY POWELL: Every actor has their own process on how to prepare for an audition. But, take this advise from a former Casting Director…PREPARE, DON’T WING IT. I once had an actress in one of my Audition Workshops who told me that she never worked on an audition, because she liked to keep it spontaneous and fresh. And I said to her… “How’s that been working out for you?”

Diane Christiansen Kids & Teens

Prepare to Succeed – Build Your Professional Team and Support System

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By Diane Christiansen

Success = Preparation + Opportunity

I learned this equation as a kid, and it is still the most valuable math lesson I have ever been taught. Success is not a fluke. It is the result of countless hours spent in preparation for the opportunity of a lifetime. We must prepare for success in order to seize it. A big part of preparing to succeed is putting in place the people and the infrastructure to keep your enterprise afloat. Even before your career is fully off the ground, you need to assemble the team that is best-suited to take you to the top. Some people make the mistake of waiting for opportunity to arrive before seeking out support. Surely you’ve heard the horror stories of successful individuals who somehow lost it all and later discovered the people they called friends were taking them for everything they had. Support is easy to obtain after the fact, that is, after you have attained success. Just ask MC Hammer. But the people you want to have on your team are those who truly believe in you, so much so that they are willing to accompany you on your journey to greatness, starting at the ground floor. In essence, they are investing in your future. They give their time and energy to help you fulfill your potential, and only when you succeed with their support will they get a return on their investment.

So let’s talk about who you need to your team.

  • * Devil’s Advocate – The much-needed opposite of a “Yes Man,” this is the person who you can always count on to give it to you straight. Since straight-talk can hurt feelings, this person needs to be someone you trust implicitly and who has weathered a few storms with you. When everyone else is telling you to go right, your devil’s advocate will help you consider the possibility of going left. Ultimately, the decision is yours, but at least it will be an informed one.
  • * Cheerleader – Whether you didn’t land the role you wanted or you don’t like your new headshots, this is the person who will always help you find the silver lining in a bad situation. Your cheerleader is not there to enable delusion, but rather to help you maintain perspective. Especially in this industry, you’re going to need a reality check to keep you grounded in what matters and to avoid losing yourself in what casting thinks of you.
  • * An Agent – Obviously, right? But not just any agent will do. You and your agent need to be on the same page about the direction of your career. If you see yourself as an ingénue and your agent is submitting you for villains, then there’s a mismatch. Of course, one school of thought might encourage you to take whatever you can get. But how committed will you be to landing roles you don’t see yourself playing? Remember that you and your agent are in a partnership. Therefore, it’s best to find an agent that understands your niche and can find you the roles that allow you to shine.
  • * Mentor – You need to have a person on your team who has walked the path you’re traveling and can alert you to potential pitfalls ahead. A good mentor will be a sounding board for the ideas you have about your career, never telling you what to do, but serving as a fountain of knowledge and experience to help you make the best decision for you. Whether by directly advising you with tips to improve your odds of success, or indirectly by connecting you to others in the industry with a good referral, your mentor can be an invaluable resource.
  • * Hollywood Outsider – We’ve all heard of those folks who “go Hollywood,” and it never seems to be a good a thing. Having someone in your circle who could care less about who’s who in Hollywood will remind you that there is life outside of acting. So whenever you need to get away for a minute, your Hollywood Outsider can give you the balance you need to refill your tank from the depletion of Hollywood.
Holly Powell Audition Technique

Walking Into The Audition Room

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By: Holly Powell

They call your name. The viewers are looking at you when you walk in the door to see if you are at all right for the part. First impressions are everything. If you walk in nervous or seem unprepared we can spot it a mile away and don’t want to take the 3 minutes to read you. If you do feel nervous or unprepared out in the audition lobby, I want you to think of something you do in your life that makes you feel confident. Are you great at singing, cooking, playing tennis? Watch how your body adjusts: your shoulders go back, your chest moves from caved-in to centered…and then walk into the room. Your body language has sent the “confidence” signal to your brain so that you now actually start to feel confident! So as your body “fakes confidence”, your thoughts become confident…”Fake It Till You Make It”!

You must treat walking into the audition room like the moment before you walk onstage from the wings when doing a play. You must be in your “zone” or your “bubble”, with the mental focus of an athlete. As you enter the audition room you need to be in a hybrid state: a focused actor ready to go, looking the Casting Director, Director or Producers in the eye and say “Hello”. Just by saying “Hi”, we get a taste of your personality. The “Hi” can let us know that you will show up on time to the set, know your lines, be courteous to your fellow actors and not complain about the size of your trailer. Or not!

When I talk about walking into the room with the mental focus of an athlete, I don’t mean that you should walk into the room in character. DON’T WALK INTO THE ROOM IN CHARACTER! There have been a few actors in my classes who have been told to walk into the room in character, and in doing so had disastrous results…or maybe confusing results. One walked in, in character, and the role was for a drug addict. Her Agent was called by the Casting Director and said that the actress was really on drugs. One actor auditioned for “an asshole bad guy” and walked into the room in character. After the audition was over, he continued to chat with the Casting Director in character…and of
course, the Casting Director thought he was a jerk and didn’t want him any where near the set. If the Casting Director or Producer or Director chat with you, they are trying to get to know YOU. Not who the character is. Your audition will show them who the character is.

So, walk into the audition room with confidence…a focused, prepared actor ready to go who has made specific choices. Just by saying “Hi” the viewers will get a taste of your personality. And the good news is, you are only in the audition room for 3 minutes! And, “You Can Do Anything For 3 Minutes”. (The title of Holly’s upcoming book on “Auditioning”).

Interview with Carol Goldwasser

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

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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.

Reading For Studio Executives: Auditioning For a Series Regular Role on Television

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When the Producers decide that they want to take you over to read for the Studio Executives, you first have to make a “test” deal before you are allowed to read for them. This happens because the Studio wants to know how much you will cost before they “buy” you. The Casting Director calls your Agent for “quotes”. Your quotes are the amount of money you have earned for individual acting jobs, but when negotiating a series deal, the only quotes that really apply are if you have booked a pilot or series before, or if you have “tested” for a pilot before. (Example: If you have tested for a pilot before and negotiated the contract to be $30 thousand for the pilot and $15 thousand an episode, your quotes will be 30/15. It is normal for your episodic price to be half the money you made on the pilot.) If you have never “tested” before, you probably have “no quotes”.

The Business Affairs lawyers at the Studio will be making your deal with your Agent, Manager or Lawyer. Technically, a Manager is not allowed to negotiate, so if you only have a Manager you will need to bring on a Lawyer or Agent to close the deal. They will have to structure a contract that includes your pilot fee, your episodic fee if picked up for series, and what “bumps” you get in salary over probably a 5 to 7 year period. (Sometimes merchandising, size of trailer, loop days, etc will be negotiated here.)

The amount of money that the production has budgeted for each part will determine if they can afford you or save money on you, and it is your Agents job to get as much money for you as they can regardless of your quotes! This process can often be very contentious to say the least, so it is in the actors best interest to let your negotiators do their job. And the actor should concentrate on their job…being consistent in the next audition. The talk of money can lead to big dreams for the actor, and I have talked to many, many actors over the years who know they blew it in their read for the Studio because they were thinking…”If I get this job, I can buy that car!”. So it is imperative that you have your mental focus on the scene…not money.

When your deal is closed, you will go over to the Studio that is producing the pilot (Warner Brothers, Disney, Universal, Paramount, Sony, 20th Century Fox, etc.) and read for the Head of the Studio for Television Programming, the Head of Casting, the VP’s of Comedy or Drama Development, among others. Along with your Producers, you could have 10 or more people in the room. You will see in the lobby the other actors who are “testing” for your part and possibly actors reading for other parts. It’s not uncommon to have you sign your contract right there in the lobby, so make sure you get there early so you can read it over and make sure it is correct. Then get into a corner and begin your concentration and focus on your job as an actor.

There is generally no chit chat when you walk into the Studio read…just “Hi”, read, “Bye”. Make sure you take a moment when in the room to locate who you will be reading with and take your 5 to 10 seconds to focus yourself before starting. When you leave the room make sure you don’t leave the building until told you can leave. It’s possible you could be “mixed and matched” with other actors reading other parts.

It is at this point that the Studio Executives and the Producers will decide if they want to take the final step of “testing” you at the Network.

Please visit www.mastertalentteachers.com to view Holly Powell’s video “Reading For Studio Executives: Auditioning For A Series Regular Role On Television”.

Diane Christiansen Kids & Teens

3 Guideposts to Breaking Down a Script

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By: Diane Christiansen

Here are a few simple strategies to get a quick jump start on not only memorizing, but also understanding your script.

  1. Listen for the voice of your character. Read your lines aloud several times, over and over again while reading the other character lines silently. This way the only lines you hear are those of your character. After a while, you should begin to hear your character’s voice. You will begin to get a feel for the tone, cadence, and personality of your character. Try to find new ways to say the lines, using different inflections, levels of volume, and rates of speech. Continue to play and experiment until you land on a voice that resonates with the essence of who your character is.
  2. Note what is said about your character by the other characters. Take a closer look at what the other characters in the script say about your character. How do they refer to you? Do they refer to you at all? What types of adjectives or phrases are used to describe you? What is the tone of the conversation when your name comes up? All of the various ways in which your character is mentioned or not mentioned in the dialogue of the script may give you some useful hints about the type of person you are portraying.
  3. Find the most important words in each line of the script. Dissect each of your scenes line by line, marking the most important words in each line of dialogue. For your lines, this will help you to better choose moments of emphasis where you may decide to pause on or punch particular words. In addition, identifying key words in your scene partner’s lines will help you find more poignant moments to react to, thereby providing stronger motivation for your character to speak in response. This is a great exercise to improve your listening skills as an actor because it keeps you engaged in both what you are saying, as well as what is being said to you throughout the scene.