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”.

Tiffany Maher

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Be Your Own Creative Genius

How to Tap Into Your Own Personal ‘Creative Genius’

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Writing is such a great opportunity for you to express your “one-of-a-kind” self uniquely, so it’s important to know how you can best access your own personal authentic voice.


There is only one “you”… No one else has had your exact life experiences; the triumphs or the challenges. No one else is living your soul’s journey or has your unique perspective. And no one else has your individual way of expressing your-self.

In order to tap into your very own personal “creative genius”, we are first going to take a look at your big, beautiful brain and how it helps you (and hinders you) creatively.

The LEFT SIDE of your brain is dominated by our Conscious Mind – where our logic and reason comes from, as well as our ability to analyze. It stores a lot of valuable data and information that we can draw from. It’s also where our critical mind resides as well as our censor.

The RIGHT SIDE of your brain is where CREATIVITY comes from and where our imagination is ignited. It’s also where our feelings and intuition stem from. The right side is where we have access to the subconscious mind as well as the “collective UN-conscious.”

The great news about the Collective UN-conscious is that we have access to information that is not limited to our own individual experiences, but to the “all” of humanity”. And if we venture far enough away from our conscious mind, we can dive into the creative ZONE where there is no time, there is no space, there are no worries, there are no judgments, there is only the BLISS of the creative “experience.”

THIS IS SO IMPORTANT…

Your first draft of anything should be where you give the right side of your brain FULL reign. Where you don’t try to control anything and you let it rip! You allow your imagination, intuition, your heart and soul and your own personal “creative genius” to have some FUN. Your first draft is where you allow them to take you on a ride that will DELIGHT and surprise you!

The LAST thing on your mind should be “doing it right” in the first draft. Perfectionism KILLS creativity… Imagine Vincent Van Gogh if he had tried to paint “correctly” — we would be without his “one-of-a-kind” masterpieces. Talk about an authentic voice!

For example, allow these characters you are choosing to explore to have some interaction and dialogue with each other without YOU trying to control it. You will be surprised at some of the brilliant dialogue that comes out of their mouths! Especially since you didn’t say it; they did. As a matter of fact, if you give your characters enough reign, they will start to inform your story. They will tell you what they want to say, where they want to go and what they want to do… Amazing things you wouldn’t have thought of consciously.

If you allow your imagination to SOAR in the first draft, it will make your rewrites much easier and more fun because you are now invested EMOTIONALLY and you have some brilliant gems you can PLAY with. Then, in the rewrites, you can apply more structure and technique, but remain open for the “ah ha” moments. Soon things will start to make sense that might not have before. For example, did you know that M. Night Shyamalan (who wrote and directed The Sixth Sense) didn’t even know that the Bruce Willis character was dead until the 4th or 5th draft? That one element made the movie ten times more impactful!

Okay, I understand that you might be saying, “Sounds great, but easier said than done!” That’s why it’s so important as artists to cultivate and NURTURE the right brain. In fact, there are several ways you can do that.

One of the best ways is DELIGHTING in your five fabulous SENSES!

For example, here are just a few of the thousands of ways you can delight in your senses:

  • Savor and be present with delicious food.
  • Listen to beautiful uplifting or relaxing music.
  • Enjoy the beauty of nature. RELISH the beauty all around you!
  • Stop and SMELL the roses (literally).
  • Kiss, touch and be affectionate with your loved ones.

Other Great ways to STIMULATE the RIGHT BRAIN:

  • Meditate: get out of your conscious mind and into the alpha state.
  • Gather with friends you really ENJOY and have some laughs. FUN is a big right brain stimulator!
  • Go see terrific movies, read good books, watch entertaining and funny shows – they ALL stimulate and ENHANCE the right brain.
  • MOVE your body. Dance, make love, hike, ride a bike!

ENGAGE in Life! How can you expect us to engage in your story, if you aren’t engaged in your own life?!

In upcoming videos/articles, I will be discussing:

  • Cultivating story ideas and topics that you feel passionate about!
  • Creating compelling characters that we care about (or love to hate)!
  • Creating fascinating story arcs that keep your readers hooked!
  • Writers block and how to deal with it!

Stay tuned… for more Writing articles. For more information on my Writing Mastermind Groups or private coaching, visit my website or call me at:

MBwritingworkshop.com
310-923-2726
Actors Writing Their Own Material

Actors Writing Your own Material

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The biggest mistake most actors make is leaving it to their agent to establish a career for him or her. Then there is the smaller percentage of go-getters who know very well that the agent is only responsible for 10 percent of their work – so they create or write their own opportunities. This way they can have much more of a say in what they actually want to “design” in terms of their creative participation and ultimate success.


This goes all the way back to the days of Charlie Chaplin in the 1920s and Mae West in the 1930s, when they were the most powerful people in Hollywood at the time. Mae West was considered very risqué in her day but she didn’t need permission from anyone to do “anything” she wanted.

Some other standouts who have created star making vehicles for themselves are Woody Allen, Steve Martin, Billy Crystal, Adam Sandler, Will Ferrell, Ben Stiller, Seth Rogen and Jason Segel – to name just a few. Every heard of any of these guys?? Seriously, who else would have made Woody Allen a movie star but Woody Allen?! He created a brilliant way to do whatever he darn well pleases and not have to answer to anyone – ever. With complete creative control, Woody still makes one movie a year. And the good news to all “maturing talent” in show biz – is that some of his latest masterpieces like “Midnight in Paris” and “Blue Jasmine” – are amongst his best work in his 40-something year career.

Fortunately, female writer/performers have finally burst into the “Hollywood Big Guns” scene in a fierce way, starring in film and television gems they have created for themselves and the people they want to PLAY with. Tina Fey established herself mightily as the first female Head Writer for Saturday Night Life, which helped pave the way for Loren Michaels to produce the big hit she penned (and also co-starred in) – the clever box office champ, “Mean Girls”. The next thing you know, she is writing, producing and starring in the highly acclaimed and award winning “30 Rock.” Then more movies… Plus co-hosting the Golden Globes with another female dynamo – Amy Poehler.

Kristen Wiig parlayed her hilarious (and brilliantly written) romps on SNL into the hysterically funny “Bridesmaids”, which turned out to a huge hit! And you’re never too young to get started. Lena Dunham was 19 and 20 years old when she wrote, directed and starred in some award winning short films, which then paved the way for her enormous success as writer, star and often time director of the brilliant series “Girls” on HBO.

You might be saying, “But I’m not a writer.” My answer to that is, “How do you know? Nobody is a writer until they write something!” I have three thriving mastermind groups and I would say that nine out of the ten people in each of my groups are either former or current actors who want to create their own opportunities.

Across the board, I have found that actors are most often brilliant writers because you are very sensitive people and you are keenly interested in human behavior. Plus you have a deep desire to be freely expressed and you have a great imagination that you like to “use”. You love to observe people and emulate interesting behavior. You dive deep and you’re passionate people. These are all qualities of a great writer!

So, my goal here is to plant some seeds so that you’ll be inspired to create your own “ticket to ride”… And it’s never been a better time in the history of show business to do that. Because of the Internet and social media – as well as advancements in technology – you can now buy quality video cameras that create beautiful high definition for very little expense. Plus, if you are fortunate enough to have a Mac or more advance PC with editing capabilities, you can shoot, star in and edit your own short (or full length) films, web series, talk shows, sketches and stand-up comedy highlights. And then gain an entire fan base on You Tube with your own channel! It’s so much easier now to create and edit your own masterpieces, than what was available to the average person just a few years ago… The possibilities to create and share your unique expression – is ENDLESS.

Now it’s time to ask yourself seven questions:

  1. What is unique or outstanding about me that I can enjoy sharing for my own and others entertainment?
  2. What subjects fascinate me?
  3. What characters do I want to explore, dive into, behave like or interact with?
  4. What ironies of Life would I like to contemplate and find humor in?
  5. What quirks or personal flaws do I have that I can have some FUN with?
  6. What strengths or expertise do I have that I can inspire or entertain others with?
  7. Who are the people that I would like to create and PLAY with?

PLEASE NOTE: It’s so important to align yourself with other creative comrades whose talent you admire and whose company you enjoy, so that you can inspire and motivate each other while you create something fabulous together. If you look at the stars I talked about earlier, whether it be Will Ferrell, Ben Stiller or Jason Segel, they keep playing with the same cast of characters! They keep making movies together and they have a ball doing it. They also have a better chance of success when they band together and so will you.

In the next video, I’ll share more great tips about how to create your own opportunities with more information about web series, YouTube and the best equipment for the lowest price.

And I encourage you take advantage of the wealth of information available to you on MasterTalentTeachers.com. It will greatly support you in all this.

For more information about Minda Burr’s Writing Mastermind Groups and Private Coaching go to: www.mbwritingworkshop.com or Call: 310-923-2726