Acting Bits
February 2010
-When going to a call-back (either commercially or theatrically) make sure you look the same as you did at the first audition (unless otherwise directed). This means same clothes, same hair, same make-up, and same accessories. You were called back because you looked the part, the character you put together appealed to the client/director. Now all you have to do is do what you did at the first audition, only better.
-When I coach a client for a Screen Test or the Network, I always make sure that they embody the character and make chemistry happen with the other actor(s). They should execute the preference of the character and the proper body language. Allowing the freedom to work within the scene and to make character-appropriate adjustments based on their partner's behavior.
-It’s always smart to have 2 contrasting monologues that highlight your personality. That way, when a Casting Director or prospective Agent asks you to perform one (or both), you’ll be prepared. That plus great cold reading skills, will demonstrate your professionalism & how serious you take your acting career.
-When you get a call-back, it’s a great feeling. You have done something right and the Director wants to meet & possibly work with you. Now more than ever, your sense of flexibility, improv skills & approachability becomes imperative. No matter how talented you are, before making the final decision, the director is going to ask him/herself “ Do I want to spend the next few days, weeks or months with this person?” His/her answer should be “Yes” because besides being talented & right for the part, you must be approachable (not difficult or defensive) and nice to work with.
January 2010
-Enjoy the process. If you do, so will the (casting) directors & the energy in the room will be filled with positive outcomes.
-If you’re given new sides on the spot & only have 10 minutes or less to prepare, break them down into beginning, middle & end. This will guarantee that you have at least 3 transitions.
-Try not to guess what the (Casting) Director might want. Make the part your own & give it your own unique interpretation. The rest is out of your control.
December 2009
Happy Holidays
May your holiday be filled with joy, love & support. Remain tenacious, determined & courageous. Most of all, believe in your talent, keep on being kind to yourself & keep your visions alive.
Happy 2010 & May all your dreams come true.
Acting Bit will be back after the New Year.
-It can be a hard task, if you’re dyslexic or have lots of text to memorize. Besides recording your line & the cue of the other character line, (with the hope that you react impulsively rather then technically), or just write all of your dialogue down with no comas or punctuation as if an entire monologue/thought (without the other characters lines). It can be very helpful to breakdown the text into a unit of thoughts/intentions & give it a name/label, so that your subconscious remembers where that specific chunk of dialogue that your having difficulty with will be associated with that unit of intention.
-The moment you walk in to the room, your audition begins. Be professional, authentic, open & approachable. Hold down to your natural charisma and combine that charisma with the character’s preference. The moment you are asked to slate, commit 100% to your choices.
November 2009
-When meeting a prospective agent for the first time, make sure you come prepared. This includes having extra 8x10 photos (commercially and theatrically, with resume attached), as well as all of your other 4x6 proofs or your photo CD. Give the agent the option to make their own selection. It is also imperative that you have prepared well thought out questions to ask the agent to ensure it will be a good fit.
“Unspoken Transitions”
-When you are doing a cold read, remember to execute the unspoken transitions in your character’s preference. After the dialogue of the other character has landed on you (mind and body) make your reaction clear and active, scoop the next line & by the time you lift up your head with the new Point Of View, before you speak, make it clear and visible that you have your unspoken transition specifically for your character’s next Intention/Beat.
October 2009
-Before you slate, make sure you have 3 Specific behavioral adjectives for your character that can be expressed trough your body language. So the casting director or director can witness the transformation from yourself to the character from the first beat.
-When breaking down your sides, dissect the personality traits of your character and feel how it differs from your own. Thus you can make appropriate choices in the preference of the character.
September 2009
-At the end of your audition (theatrical or commercial), when the dialogue has ended, before the Casting Director is about to stop the recording, make sure you have closure for your last moment. This is done by asking yourself, ”what would my character be thinking, feeling or doing if there was more dialogue”.
-At an audition, when you slate, do it in a dynamic way. Don’t stare at the camera, waiting for your cue. Instead come from a previous moment. Slate the positive side of the character, then transition into your first moment as smooth as possible.
- At an audition, remember to have your first line memorized and always ask for a couple of beats if the casting director or reader has the first line.