How to Navigate the Casting Director Workshop Dilemma

Right now, the idea of Casting Director workshops is a very divisive issue in Los Angeles.  I'm a bit nervous to even bring it up because the passions can be so high on both sides.

Most actors will tell you it is very tough to get into casting offices these days and virtually no offices hold "general meetings" with unknown actors unless you have a very persuasive agent.  What workshops do is give you a way to meet with casting directors without having to be selected for an audition.  For those of us who aren't getting the auditions we want or for those who don't have an agent it seems like a great way to get your foot in the door.

But, there are some downsides.  Workshops are expensive and if you go to multiple workshops in a month, it really adds up.  Also, workshops are not really supposed to be an audition and if you read the fine print on any workshop website you'll see the ubiquitous disclaimer that this is just for educational purposes and there is no guarantee of employment.  Of course we KNOW that, but let's be honest, we go to these workshops because we want the casting director to eventually hire us. 

Plus, we've all heard the stories from friends who have gotten called in or even booked a role from doing a workshop.  If it can happen to them, it can happen to us, right?  Well, I'm here with some bad news - the numbers are not in your favor.  The percentage of actors who actually get called in and book work off of workshops is very small, but there is always that chance.

What I suggest is to attack workshops in a methodical way.  Figure out what TV shows or movies you WOULD be cast in very easily and who casts those.  From there you have a target list of casting offices you should try to see.  Make a budget each month of how much you are willing to spend on workshops and limit yourself to seeing only those offices that are on your list.

Try to see the decision makers in the offices - sometimes it is the head CD who calls people in, but in other offices it might be the associate who generally works on the submissions.  To find out who the decision maker is - speak to your agent or ask friends who have been in that office in the past.

There are a lot of different types of workshops out there.  I know quite a few people who prefer intensives that go for multiple weeks with the same casting director.  Personally, I like workshops that allow you to prepare your scene in advance and provide you with a reader instead of a random partner when you get there.  Feel them out and see what is best for you.

Please tread carefully.  There are a lot of people in Hollywood whose only job it seems is to separate actors from their money.

Lastly, remember workshops are not really considered classes and should not take the place of your regular training.

What Class is Right for Me?

There are so many classes for actors in Hollywood that it's difficult to know which one is the right one for you.  There are business of acting classes, technique classes, and commercial classes.  Then if you decide to do a technique class, what kind?  Do you want a heavy Meisner class or lighter cold-reading class?

A newer phenomenon in the category of business of the business are these classes specifically geared towards marketing.  Some are taught by people who seem to have little to do with show business and can cost up to $500.  Of course, marketing is important and clearly these teachers are very good at marketing to actors since many are willing to pay the money to take these classes.  Perhaps that does translate for actors marketing to producers, but I'm suspicious.  A few of my friends have taken them and felt like they got a lot out of it.  But are these classes worth all that money?

The same thing can be said for lots of technique classes out there.  So, how do you know if a class is worth taking?

My recommendation is to try it out.  Most places allow you to audit a class for free (and in general if a place doesn't let you do that I would question if it was the right place for me.)  Even some of these marketing classes offer free tidbits online. 

I take every free class offered to me because one thing I believe in wholeheartedly is: free stuff is good. 

Try it out, see if the teacher is right for you.  What's good for me may not work for you, so you can't always just rely on what classes your friends adore.

Recently, I went to audit a commercial class and I knew pretty quick that I would not like this guy as a teacher, but plenty of others swear by him.  If I had just gone by recommendations I would be spending way too much money on a class I would hate.  That allowed me to find another class that was right for me.

Here are a few good websites to find free classes, but be warned some are just trying to sell you on a much larger class:
www.sagfoundation.org
www.actorrated.com
freeworkshops.info

Pay Attention You Might Learn Something

One of my goals for the 2012 was to intern at three casting offices this year.  This particular goal is going along good because today I got to be a reader at a casting office working on an exciting new webseries. 

As a reader you get a great insider look into the casting process and if you pay attention you will learn so much more being a reader than you would ever learn at some cold reading workshop.

Today the lesson I learned was that even if you don't think your doing enough you are probably doing too much.  So many of the actors came in with all these planned out movements and pantomimes, like knocking on a door or making a kissing face.  None of this type of extraneous stuff helped their acting.  You could see them trying to remember what they had planned instead of actually listening and responding.

The best actress of the day, the one that gave everyone goosebumps, didn't move from the chair.  She spoke quietly, but loud enough for us to hear.  Everything was there in her eyes.

You don't have to pad your performance with all that extra stuff.  The most important thing is that you are natural and that you listen and respond to the reader.

On a side note, as the reader I hear all the notes that casting has given to the actors that came in before you.  I know what they are looking for and will do my best to direct your performance with my read, so it helps you to pay attention to me. 

Remember casting is on your side.  They want you to be so amazing that they don't have to see anyone else for the part.

A New Year and New Goals

New Years is fast approaching and people will start asking you what resolutions you made, like that question isn't the least bit nosy and intrusive.  My answers are the same as everyone else: to work out more, eat healthier, stop procrastinating, blah blah blah.  They are all good ideas but they lack specificity and for that reason I'm making the same resolutions every year.

One of my teachers at Playhouse West gives out a great goals assignment every year that helps with those pitfalls.  The first step is to create goals not resolutions.  Goals are something that have a finite end point and they are only goals if it is something that you can do on your own without the approval of someone else.

So, how do you create goals?

I start with my dreams.  You know those things that you want so bad and seem so far away that saying them out loud makes your stomach go into knots.  (I talked a bit about that here.)  This is one of my dreams: to become a series regular in a hit TV show.  The reason this is a dream and can't be a goal is because I cannot do it wholly on my own.  I need other people's approval to get cast and an audience to watch. 

The next step is to break your dream down into smaller dreams that lead to it.  In the case of getting a series regular role the steps before that would be booking some guest stars and before that would be some co-star roles.  That is a more manageable place to start, but it is still a dream and not a goal.

What goals would help me book some more co-star roles? 

• Always attending acting class unless I have an acting gig or am sick and I will always be working on a scene.  Perfecting my craft will make sure that when I get an audition I am 100% prepared to be my best.
• Communicate with my agent at least once a month about what I need to be doing to make it easier for them to pitch me.  Make sure they know what my dreams are so they can help me achieve them.
• Attend one workshop a month with the casting directors who work in the type of TV shows that cast my type.

These are just a few ideas of the type of goals you can make that are specific and are something you can achieve.  The best thing to do is write your goals down in a place you see everyday as a reminder and then revisit your goals a few times during the year to adjust them as you achieve your dreams.

Wishing everyone a wonderful New Year filled with success.  Keep Dreaming!

What I Learned at ActorFest

This past Saturday I went to ActorFest, a free event for actors from Backstage.  There were casting director meet and greets, panels (those cost extra), and lots of booths for things that might be of interest to actors, like Scientology and psychotherapists.  It's a lot like ComicCon minus cosplay and Kevin Smith. 

This is what I learned at ActorFest 2011:

1. There are a lot of companies that seem to exist for the sole purpose of separating actors from their money.
2. Actors will do anything for a chance to talk with a casting director, including standing in line for over 3 hours to have a two-minute chat.
3. However, most actors are not willing to get up before 9am. 
4. I have no idea what to say to a casting  director in a two-minute general meeting.
5. Casting director's also have no idea what to say to actors in a two-minute general and their go-to question is "So, where are you from?"  Better than, do you come here often?  I guess.
6. There are some very sketchy people out there trying to be actors.
7. There are people who look gorgeous at 8am standing outside in the freezing cold.  I assume these people are genetic freaks.
8. If you are going to be standing in line for most of a day, bring snacks.  And if you ask me, peanut butter cups have protein and are therefore good for you.
9. High heels make your butt look pretty and your feet hurt.  If you are going to be spending all day in line, bring flats.
10. Apparently, Irish-American doesn't count as diverse to NBC.

I'm always pro going to free events when you have nothing else going on.  You never know who you are going to meet or what you'll learn.  This weekend I got to meet some cool actors and chatted with a few casting directors.  I'm not sure how much can be learned about someone in two-minutes, but it is more than they knew about me before this weekend.

Yeah, I waited in lines for most of the day, but all in all a fairly productive way to spend a Saturday.  Now time to write the follow-up thank you notes.

How to Tackle those One-Liners.

Ask any actor and they will tell you the most difficult auditions they go on are for one line roles.  You see these on every TV show: the paramedics, nurses, waiters, receptionists with lines like, "Your table is right this way" or "The stab wound is in curtain two."

I went in for the role of "Assistant" on a TV show a few years back and the line was "Your dinner reservation is at 8."  At the audition, I walked into the room and said my line.  The casting director looked up at me and gave this direction: "Great.  Now say it like you're the assistant to a scientist."

What the hell does that mean?!  I mean, how would the assistant to a scientist say anything?

So, I turned around, took a breath, and just said the line again.  Did I say it like the assistant to a scientist?  I have no idea.

The problem with one-liners is that you don't have much to work with and how are you supposed to make yourself stand out with just one line?  A few weeks ago I went to a workshop with a casting associate who spent years casting a procedural drama that required a lot of your typical one-liner roles.  She had some great tips on tackling these roles.  Here are a few of them:

1. Don't over think it.  Generally, these roles are jobs and you do this job everyday.  It doesn't need to be dramatic.  Keep it simple.
2. Don't drag the line out with lots of unnecessary pauses.  I know it's a short line and you want to be seen for as long as possible, but it's more important to be truthful.
3. Give yourself a moment before you start the line.  You can turn or step into it.  This is a good moment for you to relax, but also practical because it gives the casting director time to find your name on her list so she can actually watch your audition.
4. Remember every part and line is important.  If it wasn't it wouldn't be in the script.  Put as much work into as you would any other audition.  And it's just one line, so please have it memorized.

Now that you've booked that one line role, what should you do?  Exactly what this guy did in his video, One Line on the Sopranos.  (I know I've posted this video before, but it's an awesome video and I'll take any excuse to watch it again.)

Serious Actors Take Classes

In last week's post, Where is your Craft, I questioned how people could claim to be following their dream without working on their craft.  I wanted to follow-up on that and talk a little bit more in-depth about the importance of acting classes and why it's hard for me to take you seriously as an actor if you don't take classes.

I've said it before but it is worth repeating: LEARNING TO BE AN ACTOR IS A LIFELONG PROCESS!

Just because you've booked a few roles doesn't mean that you have no more to learn.  Doris Roberts at 80 still goes to her acting class every week and she's been in the business for 60 years.  From Doris Roberts' Interview with CBS:

"I go [to class] every Saturday morning, I went this morning! I keep learning. See, the important thing about getting older is not to settle. The minute you settle, it's like a disease: if you give into it, become a victim, then you're dished. So I don't settle."

Ted Danson spoke with the Washington Post about working with an acting coach for his role on "Damages."

"[Acting coach] Harold [Guskin] got me to stop being a nice actor. . . . There was an arrogance that he gave me to the acting process that was fun to play with."

Do you still think you have nothing to gain from taking classes or that they are a waste of money?


I found a school that works for me and that I enjoy in Playhouse West.  But, I know that everybody works differently and needs help in different areas so I suggest auditing many different classes to find the one that is right for you.  Don't use not liking a particular class or teacher as an excuse to not go to any classes.  There are so many acting classes in Los Angeles, I guarantee there is one for you.

Now, I want you to understand that I am not talking Casting Director workshops.  They may pretend to be classes, but we all know what they really are.  I am not going to weigh in on the fight over whether CD workshops are worthwhile or not, but one thing I do know is that they are not training.  So, please do not put workshops under training on your resume (and yes, I have seen that), if you do this I will immediately think less of you as an actor.

So, if you aren't taking classes ask yourself how serious you really are about pursuing this career.