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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?”

Do Your Best Commercial Auditions

Insider Casting Tips to do Your Best Auditions – The Waiting Room

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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.

Carolyne Barry Commercials

Why You Won’t Book the Commercial

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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.

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.
Kids & Teens: How to Dress for an Audition

How to Dress for an Audition

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Today we’re going to discuss a big topic of concern all actors face. The number one question we hear when actors come in for private acting coaching or to our acting school in Los Angeles is, “What do I wear?!”

The best way to answer this question is by first focusing on what NOT to wear. The casting director doesn’t want to come into a waiting area that looks like a Halloween store exploded! If an 8 to 10 year old girl is called in to audition for the role of a fairy, there’s no need to go full Tinkerbell. Leave the wands and the wings at home, little ladies. What the casting director wants is far simpler and much less expensive than going to a costume shop every time you have an audition.

Here’s what you need to know about audition ensembles: whenever you go into a character specific audition (i.e. fairy, space camp kid, soccer player, etc.) all you need is a HINT of the character. Little fairies wear sparkly shirts; space camp kids have jackets with a spacey looking patch; and soccer players wear jerseys (leave the cleats on the field!). I think you get the picture.

One thing we tell our students in our kids acting classes and acting classes for teens, is that casting directors have already seen your headshots, so they know what you look like even before you step into their office. Don’t distract him or her with complex costumes or over the top outfits.

As for non-character specific auditions, always wear a color that compliments your skin tone, hair shade, and eye color. If you don’t know what colors look good on you, ask a friend, a parent, a sibling. Also, a great way to boost your confidence is to wear a color that makes you feel good! Just make sure to stay away from the following colors: black, white, grey or red. These colors don’t translate well on camera. Black makes everything look dull, white can blow out the camera lighting, no one ever remembers grey and red tends to do funny things to skin tones and camera settings.

Now that you know how to look your best, go out there and break a leg!

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”).

Insider Tips for Doing Your Best Commercial Auditions – Part 1

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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/