Acting Bits
June 2010
“Increase your chance to book”
-Lately you may have seen a lot of brothers and sisters portrayed on television. But you may not have a sibling that looks like you or you might have an identical twin back home on the farm that wants nothing to do with acting. So try this, go online, post your photos and see if you can identify someone that could easily be cast as your brother or sister. Contact them and agree to refer one another if the opportunity presents itself. Put it on your resume and mention it to your agent.
May 2010
-Always have extra headshots and resumes on you where ever you go. Put them in your car, locker at the gym, your backpack/bag. You never know who you will bump into. When going to an auditon always bring in an extra heatshot and resume. Even though your agent has already submitted it, the casting director might want an extra one either for that project or a different one. It’s best to be prepared for everything.
-At a commercial audition, if there is one, go over the story board. This will give you an idea of how the commercial will be shot, what choices are better to make, and what the appropriate reaction would be.
-When going to an audition, meeting an agent or manager, ALWAYS be early. Give yourself at least a half hour to park. If you have extra time, relax, go over your monologue/lines, warm up your body and voice. There is nothing worse then making someone stay longer waiting on a late actor. Also, rushing in looking frazzled is not a good first impression.
-Having a choice is ALWAYS better then not having a choice. Trust your instinct and give it your best interpretation of the character, scene and dialogue. The casting director will appreciate the fact that you prepared something and took a chance. It will also help your odds of getting an adjustment.
April 2010
-When you do get signed with an agent, don’t let yourself get lost in the shuffle. You should have the kind of relationship that you don’t have to feel guilty to call at least once every couple of weeks to check in. You may even want to stop (always call first) by once a month to say “hi”, drop off some cookie, headshots, a holiday card and see you in different outfits, hairstyles, etc. That way you are showing them your diversity. Also, today secretary, will become tomorrow assistant/agent
-When you do get an interview with an agent/manager, you should have at least three questions that you would like to ask them. They are interviewing you, just as much as you are interviewing them. Don’t become so desperate (or , DON’T settle for just anybody) to have an agent that you sell yourself short. There is nothing worse then when a client comes to me all excited to get signed with an agency, then 3 months later, he/she is disappointed because they have only gotten one audition if any. So make sure that the agent/manager is the right fit for you, that you both are clear on the type of actor you want to be, the jobs you feel you are right for, goals & that you’re going to get guidance.
-When you are preparing to do a mailing to an agent, DON’T use regular large closed envelopes. Use the envelopes that have a clear window on the front, it will increase your chances of the agent giving you a call. Agents receive hundreds of headshots a weekly; they don’t always have the time to open up every single envelope. If your headshot is in a clear envelope, then the agent will immediately get a feel for you and you are more likely to be seen.
March 2010
“Making The Copy/Text Your Own”
-Once you have broken down your sides into beg, middle & end, make sure you are clear on the intentions/actions/beats of your character in his/her preference with strong choices. Further break down the text/words using a powerful tool called “Phrasing”.
-During an audition (even if it is a cold read) NEVER look down for your lines before the reader has finished theirs, it will look like you are anticipating your cue, not listening and not in the moment when you should be reacting instinctually. Instead (if you do not know your next line), stay with the reader, listen and react to the lines, wait for them to finish, show your point of view, THEN look down to scoop your next line while keeping your point of view and pick up your next line as the character not as yourself.
-At an audition, it’s ok to bring small, everyday props to enhance the choices of your character, but nothing too big. Bring only whatever you may normally have on you, like sunglasses, newspaper, a small water bottle, a SHUT OFF cell phone, etc. A toy gun, sporting equipment, or anything too big with only be distracting from your performance.
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.