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walking into the Audition Room

Walking Into The Audition Room

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?

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

How to Clarify Your Acting Niche

By Diane Christiansen

Finding your “niche” or your “brand” or your “type” seems to be daunting for most actors, including kids and teens. Yet it really can be a fun process. Possibly the reason for any difficulty is because actors have this idea that they can play anything. However, Agents and Managers have to market you, to them you are a commodity. Our intention is to make it easy for them to do.

Here is a great exercise that we do in our classes to help you know how to market yourself before you showcase your work and/or interview with Agents and Managers.

You can do this with any group of 5 or 6 people. Try this; have 5 or 6 people watch you walk into the room, the more objective they are, the better. Ask each one of them to tell you what kind of role you look like you can play. Each of us carries ourselves a certain way, and each of us give off a certain “vibe”. They are going to say things like “The Jock, the Nerd, the Cheerleader, the boy next door, the Prom Queen, the smarty girl, the Best friend, the leading lady, the Social Worker, the Cop, the Detective, the Urban Professional, a Gang member, the Politician, the Doctor, the Lawyer, the blue collar worker, and on and on. Once you’ve collected those five or six ideas, you should be on track with your obvious “Type.”

At that point, you can package yourself that way to Reps and if they are seeking that type, bingo! You’ve hit the mark. I know you don’t want to be type cast, but that’s how careers get jump-started. You have to get your foot in the door. Once you’ve been the Nerd fifteen times, you can expand your range and convince your Reps to try a new look or photo. But in the meantime, go for what you are, it’s the perfect way to start your career!

5 Ways Technology Changed the Demo Reel

5 Ways Technology Has Changed the Demo Reel

A demo reel is an absolute must for actors. In this video, Retta Putignano of Create Your Reel talks about the value of the demo reel for getting you in the door of casting or an agent, and exactly how it should look in today’s market.

Demo Reel Evolution

Evolution of the Demo Reel

All actors need a demo reel. In this video, Retta Putignano of Create Your Reel talks about the demo reel and its evolution.

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

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”.

The Inside Scoop: A Conversation with Casting Director Caroline Liem Part 1

Written by: Holly Powell

I sat down and had a great conversation with Casting Director Caroline Liem who has worked in many different areas and mediums of casting. She has worked on Television Pilots and Series, Feature Films, Voice Over for animation and was Head of Casting for Jimmy Kimmel Live!. Read more