Last night, I went to a screening of the new Ron Howard flick, "Rush," plus Q&A with it's stars, Chris Hemsworth (aka Thor) and Daniel Bruhl (I don't know how to do umlauts on this computer.) It's a beautiful film that is a character study about the Formula 1 drivers these guys play and the rivalry between them. Both actors are amazing in their respective roles, each doing a wonderful job taking on these iconic drivers.
What I found interesting was these guys talking about how they got these roles. Each had to audition. Yep, one has a SAG award for his work on Inglourious Basterds under his belt and the other is Thor, from the 3rd highest grossing film of all time. And both had to audition.
Here is what really struck me: Chris Hemsworth couldn't get an audition for this film. They weren't interested in seeing him. (Did I mention that he is THOR?) He wanted the role so much, once he read the script, that he proactively put himself on tape. He picked a monologue and had his wife tape him in his hotel room (and, he says, approximately 115 takes later he was finally happy enough with it to send it to his agents in hopes that Ron would watch it.)
When I first heard this, I thought, if THOR can't get auditions, what hope could I possibly have?
But, that is the incorrect response. What you should get out of this, is that no matter where you are in your career path you have to be proactive. Sure you should get a hold of scripts, find roles that are right for you, and put yourself on tape. But beyond that you got to be getting yourself out there, constantly creating. Write roles for yourself, create characters, do plays.
What will absolutely kill your career is sitting home and waiting for someone else to call you with an opportunity.
Showing posts with label auditions. Show all posts
Showing posts with label auditions. Show all posts
Tuesday, September 17, 2013
Monday, April 22, 2013
The Problem with Rushing
So, here's something I often struggle with in auditions: I rush. It's a constant battle for me to take my time in auditions and be, you know, a good actor.
I do the things you are supposed to do: I am prepared, I breakdown my sides, know all the moments, know my doings, I take the time in the waiting room to calm myself. Yet, often I go in there and rush - especially the first time through. (I tend to relax by my second read - I love those second takes.)
But, you don't always get a second take. So, how do you make your first try as good as your second?
Well, I've begun to understand why I rush. Rushing is a symptom of a lack of confidence. There is a fear that if you take your time, don't constantly fill the space with talking, people watching will lose interest. Of course, I know logically that this isn't true and that the most interesting acting moments are almost always behavior and not from the lines.
But, how do I take that knowledge of why I rush and why it's bad, get past my own nerves to bring into the audition room the best actor I know I can be?
Yeah, I don't have the best answer for that. Except that before I walk into the room I try to remain calm and remind myself to take my time. Sometimes it works, sometimes my nerves get the better of me.
But, hey, I never said I wasn't a work in progress.
I do the things you are supposed to do: I am prepared, I breakdown my sides, know all the moments, know my doings, I take the time in the waiting room to calm myself. Yet, often I go in there and rush - especially the first time through. (I tend to relax by my second read - I love those second takes.)
But, you don't always get a second take. So, how do you make your first try as good as your second?
Well, I've begun to understand why I rush. Rushing is a symptom of a lack of confidence. There is a fear that if you take your time, don't constantly fill the space with talking, people watching will lose interest. Of course, I know logically that this isn't true and that the most interesting acting moments are almost always behavior and not from the lines.
But, how do I take that knowledge of why I rush and why it's bad, get past my own nerves to bring into the audition room the best actor I know I can be?
Yeah, I don't have the best answer for that. Except that before I walk into the room I try to remain calm and remind myself to take my time. Sometimes it works, sometimes my nerves get the better of me.
But, hey, I never said I wasn't a work in progress.
Wednesday, March 6, 2013
Stop Comparing Yourself to Others
As an actor it is easy to feel you are in constant competition with every other actor remotely in your category. For me, as someone who plays a mid(late)-twenties Caucasian female, that means that most of the city of Los Angeles is my competition.
Since we all feel that we are constantly competing with others it is very easy to want to compare ourselves with others' achievements. You see the postings on social networks of "the competition" booking jobs, on set, working with cool people and it's easy to start feeling down on yourself. You say things like: why are they getting all this work, while I am stuck sitting at home looking at Facebook?
All this competition and comparing yourself to others is pointless in this business. A casting director once told me that there is really only one person that is perfect for a role and it's their job to find that person. Yes, you can put yourself in a large group of actors that you'd call "your type" but everyone in that group is an individual with their own quirks and understandings of the world. There are examples of talented actors who get a role that isn't right for them, maybe because they are famous, but then the movie fails because of it.
When a role comes along that you are really perfect for, you won't have any competition.
Next time you freak out because everyone on Facebook seems to be doing more than you, remember people generally post the good and exciting events that happen. Most of the time people don't post about the days when they bomb an audition and don't get that call back.
Facebook tends to just be the highlights. I bet if you look at your own Facebook wall you'll see your life isn't as bad as you think it is.
Since we all feel that we are constantly competing with others it is very easy to want to compare ourselves with others' achievements. You see the postings on social networks of "the competition" booking jobs, on set, working with cool people and it's easy to start feeling down on yourself. You say things like: why are they getting all this work, while I am stuck sitting at home looking at Facebook?
All this competition and comparing yourself to others is pointless in this business. A casting director once told me that there is really only one person that is perfect for a role and it's their job to find that person. Yes, you can put yourself in a large group of actors that you'd call "your type" but everyone in that group is an individual with their own quirks and understandings of the world. There are examples of talented actors who get a role that isn't right for them, maybe because they are famous, but then the movie fails because of it.
When a role comes along that you are really perfect for, you won't have any competition.
Next time you freak out because everyone on Facebook seems to be doing more than you, remember people generally post the good and exciting events that happen. Most of the time people don't post about the days when they bomb an audition and don't get that call back.
Facebook tends to just be the highlights. I bet if you look at your own Facebook wall you'll see your life isn't as bad as you think it is.
Friday, February 15, 2013
Self-Taping Auditions - Some How-Tos
It seems more and more casting is being done by self-taping. One example of this is how James Badge Dale got the role of "Cancer Guy" in Flight.
This innovation is great for actors since CDs have the opportunity to see many more actors for each role. It's especially good if you are proactive with your career because if you can find out what roles are currently casting that you are perfect for. It is easy to get a hold of the sides and have your agent pass along a self-tape to a CD.
The trick with self-tapes is that there is no room for any mistakes. If you want it to be seen and for the tape to actually help you book a role it has to be perfect. When you are in the audition room, flubs can be overlooked - but when it is on tape mistakes sort of glare at you.
You don't need a fancy camera to do a self-tape. All you need is a camera phone or any digital camera. One thing is that you want it to be well-lit. They need to be able to see you but, that doesn't require special lights. I like to use a china ball, which you can get for less than $10 at Ikea. As far as the background, I do it in front of my cream colored walls. Some people hang a curtain or sheet. You just want to make sure that whatever behind you is not distracting. Avoid cluttered spaces - a blank wall is best.
Here are a couple technical notes about the actual filming. Unless they specifically ask for it, you don't need to slate - just label your video with your name and the character you are auditioning for. Nearly all the casting offices I have worked at don't have actors slate, the only film I worked on that required slates was one that needed every actor's exact height. A close-up shot is best - about an inch above the head to just below the shoulders. If the character is supposed to be a sexy female, I'd wear a low cut shirt and make sure some cleavage is in the shot.
When I self-tape, I make sure to do enough takes that I will have at least one that is perfect. All my lines are memorized, I never look down at the sides, and every moment is clear. Once I get the perfect shot I use iMovie or Final Cut to cut any extra footage off the beginning and end and send it off to my agent.
There are studios that offer space and equipment to self-tape at a cost, but I don't think it's necessary. Really just grab a friend to be your reader and do it at your place. That gives you the opportunity to control everything and do as many takes as you want.
This innovation is great for actors since CDs have the opportunity to see many more actors for each role. It's especially good if you are proactive with your career because if you can find out what roles are currently casting that you are perfect for. It is easy to get a hold of the sides and have your agent pass along a self-tape to a CD.
The trick with self-tapes is that there is no room for any mistakes. If you want it to be seen and for the tape to actually help you book a role it has to be perfect. When you are in the audition room, flubs can be overlooked - but when it is on tape mistakes sort of glare at you.
You don't need a fancy camera to do a self-tape. All you need is a camera phone or any digital camera. One thing is that you want it to be well-lit. They need to be able to see you but, that doesn't require special lights. I like to use a china ball, which you can get for less than $10 at Ikea. As far as the background, I do it in front of my cream colored walls. Some people hang a curtain or sheet. You just want to make sure that whatever behind you is not distracting. Avoid cluttered spaces - a blank wall is best.
Here are a couple technical notes about the actual filming. Unless they specifically ask for it, you don't need to slate - just label your video with your name and the character you are auditioning for. Nearly all the casting offices I have worked at don't have actors slate, the only film I worked on that required slates was one that needed every actor's exact height. A close-up shot is best - about an inch above the head to just below the shoulders. If the character is supposed to be a sexy female, I'd wear a low cut shirt and make sure some cleavage is in the shot.
When I self-tape, I make sure to do enough takes that I will have at least one that is perfect. All my lines are memorized, I never look down at the sides, and every moment is clear. Once I get the perfect shot I use iMovie or Final Cut to cut any extra footage off the beginning and end and send it off to my agent.
There are studios that offer space and equipment to self-tape at a cost, but I don't think it's necessary. Really just grab a friend to be your reader and do it at your place. That gives you the opportunity to control everything and do as many takes as you want.
Monday, January 7, 2013
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.
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.
Monday, March 19, 2012
Star for a Day
Okay, so maybe I wasn't the star, but I was a co-star for a day on the set of a pilot last week. For the non-Hollywood peeps out there: being a co-star means that you have at least one line and usually no more than one scene on a TV show. It doesn't have an exact definition, but if a guest star on CSI is the primary person accused of the crime with a full character arc and multiple scenes then the co-star is the actor who brings them the coffee in the interrogation room and says "Would you like cream and sugar?"
Co-stars often don't even have names and are usually defined by their occupation. In the script it will simply say nurse or secretary or waiter. I had the role of Flight Attendant with one line and one speech. But, as with any job in Hollywood it is extremely competitive and difficult to get even a small role like this one. Most actors will even tell you these roles are the hardest to audition for and here I wrote some hints on how to tackle these auditions. One thing that I think helped me book this role was to make a very specific choice on how I felt about the character I was speaking to and decided to make the very boring, exposition type dialogue as a way to flirt with him.
I know an actress that spent a year getting to know the casting directors for her favorite show. After that year of going to workshops and sending postcards she finally booked that much coveted co-star role. The day after she shot it, she quit the business. Decided it wasn't worth all the work she put into it.
Not every role is going to take as much work as your first one. But, remember as an actor your day job is to network and audition because that is what you'll be doing much more often than actually getting to act. If you can't enjoy that then you'll never be happy in this business.
So, now that I filmed a co-star role, was all the work worth it for me? Yes, a million times over, yes. I love being on set, I love the actors, and I love the crew. I am never happier than when I get to act. Even though I only had two lines, I worked on them the same way I would any script. The best part was after we filmed the director gave me a hug and thanked me for bringing so much to such a small role.
Plus, it was nice to feel like star for a day with my own trailer. (Okay, so it was only a 6th of a trailer, but I had a couch and a toilet that I didn't have to share.) I even had my own stand-in, which made me laugh because I am perfectly happy standing on set while they adjust lights and such. But, I think make-up was happy I wasn't under the lights sweating off my foundation.
Now, if I could just book some more!
Co-stars often don't even have names and are usually defined by their occupation. In the script it will simply say nurse or secretary or waiter. I had the role of Flight Attendant with one line and one speech. But, as with any job in Hollywood it is extremely competitive and difficult to get even a small role like this one. Most actors will even tell you these roles are the hardest to audition for and here I wrote some hints on how to tackle these auditions. One thing that I think helped me book this role was to make a very specific choice on how I felt about the character I was speaking to and decided to make the very boring, exposition type dialogue as a way to flirt with him.
I know an actress that spent a year getting to know the casting directors for her favorite show. After that year of going to workshops and sending postcards she finally booked that much coveted co-star role. The day after she shot it, she quit the business. Decided it wasn't worth all the work she put into it.
Not every role is going to take as much work as your first one. But, remember as an actor your day job is to network and audition because that is what you'll be doing much more often than actually getting to act. If you can't enjoy that then you'll never be happy in this business.
So, now that I filmed a co-star role, was all the work worth it for me? Yes, a million times over, yes. I love being on set, I love the actors, and I love the crew. I am never happier than when I get to act. Even though I only had two lines, I worked on them the same way I would any script. The best part was after we filmed the director gave me a hug and thanked me for bringing so much to such a small role.
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| In front of the door to my trailer. |
Now, if I could just book some more!
Monday, January 30, 2012
How do You Keep Yourself Going?
People always say how difficult it is to be an actor because you hear "no" all the time. This is actually not true - most of the time you hear nothing at all. The way most actors find out they were rejected is when they see another actor playing the role they auditioned for on TV. Oh, awesome, that goofy bug-eyed girl got that commercial I went in for ... again.
But there is no way around it, being an actor is a life filled with rejection. And I'm not going to lie: it is difficult and it will get to you. The people who have longevity in this business are the ones who can take the rejection and keep moving forward.
When the rejection starts to get me feeling down, I look at the reasons I chose this career in the first place. I love to act; I love the theater; I love performing; I love movies; I love plays.
My first step in fighting the rejection blues is by watching some of my favorite actors in their best performances. I get the classics down and watch Casablanca, Breakfast at Tiffany's, Singing in the Rain - the movies that made me want to be an actor in the first place.
Another way for me to fight the blues is by wandering around in the play section of my favorite used bookstore, The Iliad. I grab a couple well-loved, marked up, highlighted plays for a couple bucks and curl up in a dark corner somewhere to read. One secret of mine: I always act out all the parts in my head while reading a play.
If I am not on an upswing yet, then I pour myself into being more productive. I find new classes; go to workshops; find offices to intern at. Suddenly, I am too busy to feel depressed over some lousy one line role or a cheesy car commercial I didn't book.
What do you do to keep yourself moving forward?
But there is no way around it, being an actor is a life filled with rejection. And I'm not going to lie: it is difficult and it will get to you. The people who have longevity in this business are the ones who can take the rejection and keep moving forward.
When the rejection starts to get me feeling down, I look at the reasons I chose this career in the first place. I love to act; I love the theater; I love performing; I love movies; I love plays.
My first step in fighting the rejection blues is by watching some of my favorite actors in their best performances. I get the classics down and watch Casablanca, Breakfast at Tiffany's, Singing in the Rain - the movies that made me want to be an actor in the first place.
Another way for me to fight the blues is by wandering around in the play section of my favorite used bookstore, The Iliad. I grab a couple well-loved, marked up, highlighted plays for a couple bucks and curl up in a dark corner somewhere to read. One secret of mine: I always act out all the parts in my head while reading a play.
If I am not on an upswing yet, then I pour myself into being more productive. I find new classes; go to workshops; find offices to intern at. Suddenly, I am too busy to feel depressed over some lousy one line role or a cheesy car commercial I didn't book.
What do you do to keep yourself moving forward?
Tuesday, October 25, 2011
How to Help your Agent Help You
I always say how important it is to not sit on your tush waiting for your agent to call. But, agents are an important part of the business. There are doors they can open that you can't by yourself.
This is why having a good working relationship with your agent is so important. I hear so many actors complain about how their agents aren't working for them or how their agents never get them auditions. But, how many of these actors actually talk to their agents about these problems?
I intern at my agent's office once a week. It keeps my face in their mind and I get to see what's going on out there. I know what's casting and if it really is just slow. But, interning isn't the only way to have a better relationship with your agent.
When was the last time you went to agent's office just to say hi and see how they are doing? One visit goes a long way, it makes them think of you and want to pitch you. Bringing baked goods never hurts either. Plus, you can take this as an opportunity to talk with them about what you need to do to get out more.
Don't hold back from talking to your agent because you're worried about bothering them. If there is a project casting that you really want to be in, or you know you are right for something, or you know the casting director, you absolutely should email or call your agent and let them know. If you don't feel comfortable enough to call and email your agent then ask yourself why you're in a relationship with them.
Your agent is your partner, but remember they only make 10% so you should be doing 90% of the work. Make your own movies, help out at casting offices, research what's currently casting on websites like castingabout.com, go to classes, network, and all that other good stuff proactive actors do. Make sure your agent has all the tools they'll need to be able to work effectively for you.
This is why having a good working relationship with your agent is so important. I hear so many actors complain about how their agents aren't working for them or how their agents never get them auditions. But, how many of these actors actually talk to their agents about these problems?
I intern at my agent's office once a week. It keeps my face in their mind and I get to see what's going on out there. I know what's casting and if it really is just slow. But, interning isn't the only way to have a better relationship with your agent.
When was the last time you went to agent's office just to say hi and see how they are doing? One visit goes a long way, it makes them think of you and want to pitch you. Bringing baked goods never hurts either. Plus, you can take this as an opportunity to talk with them about what you need to do to get out more.
Don't hold back from talking to your agent because you're worried about bothering them. If there is a project casting that you really want to be in, or you know you are right for something, or you know the casting director, you absolutely should email or call your agent and let them know. If you don't feel comfortable enough to call and email your agent then ask yourself why you're in a relationship with them.
Your agent is your partner, but remember they only make 10% so you should be doing 90% of the work. Make your own movies, help out at casting offices, research what's currently casting on websites like castingabout.com, go to classes, network, and all that other good stuff proactive actors do. Make sure your agent has all the tools they'll need to be able to work effectively for you.
Monday, September 19, 2011
TV is Back (or why I love Fall.)
Fall is officially here. The DVR is cleaned out and prepared for the onslaught of new television shows. I can't tell you how happy this makes me. The magical light box in the living room that tells me stories is pretty much my favorite thing ever.
My love for television may be genetic. I've had entire conversations with my mother and sister about Ross and Rachel, Rory and Lorelei, Jack and Kate, and Quinn and Finn. Deeply etched into my memory are final episodes of shows in the same way as a lost loved one. Oh yeah, at 10 years old I sobbed inconsolably when "Family Ties" went off the air. And who didn't shed a tear when Sam ended "Cheers" for the final time with the line Sorry, we're closed? Well, I did. In fact, I am pretty sure that my love of television is a big part of why I chose to become an actor.
This may be why one of my biggest pet peeves is when actors say with that super pretentious attitude I don't watch TV. It makes me want to scream why on earth are you in this business then? I don't actually scream that because I am a polite person, but truthfully there are lots of good reasons for actors to watch TV shows.
If you are an actor in LA and want to work then chances are you are going to go out for television series co-star and guest star roles. The best way to prepare yourself for these auditions is to watch the shows. That way you'll know the tone and look of the show. Plus, you should be familiar with the main characters. Don't be the guy that goes into an audition for "Community" asking, who is Jeff Winger?
If it's an audition for a show that hasn't aired yet, you can figure out a lot about what a show will be based on what channel it's on and knowing other shows written or produced by the same people. For instance, the new Aaron Sorkin show will probably involve walking and talking - at a very fast pace. By watching TV you'll also know what shows are likely to cast your type so you can target those Casting Directors. Basically watching television is necessary research for any actor that wants to work.
Plus, we should all be supporting scripted television by watching it because we want to keep those jobs coming for all of us actors. I've been through a few non-existent pilot seasons because of the strike and all the reality shows that came out of it. Let's not go back to that.
If you are still confused about how awesome television is, just watch Jane Lynch's intro to the 2011 Emmys.
My love for television may be genetic. I've had entire conversations with my mother and sister about Ross and Rachel, Rory and Lorelei, Jack and Kate, and Quinn and Finn. Deeply etched into my memory are final episodes of shows in the same way as a lost loved one. Oh yeah, at 10 years old I sobbed inconsolably when "Family Ties" went off the air. And who didn't shed a tear when Sam ended "Cheers" for the final time with the line Sorry, we're closed? Well, I did. In fact, I am pretty sure that my love of television is a big part of why I chose to become an actor.
This may be why one of my biggest pet peeves is when actors say with that super pretentious attitude I don't watch TV. It makes me want to scream why on earth are you in this business then? I don't actually scream that because I am a polite person, but truthfully there are lots of good reasons for actors to watch TV shows.
If you are an actor in LA and want to work then chances are you are going to go out for television series co-star and guest star roles. The best way to prepare yourself for these auditions is to watch the shows. That way you'll know the tone and look of the show. Plus, you should be familiar with the main characters. Don't be the guy that goes into an audition for "Community" asking, who is Jeff Winger?
If it's an audition for a show that hasn't aired yet, you can figure out a lot about what a show will be based on what channel it's on and knowing other shows written or produced by the same people. For instance, the new Aaron Sorkin show will probably involve walking and talking - at a very fast pace. By watching TV you'll also know what shows are likely to cast your type so you can target those Casting Directors. Basically watching television is necessary research for any actor that wants to work.
Plus, we should all be supporting scripted television by watching it because we want to keep those jobs coming for all of us actors. I've been through a few non-existent pilot seasons because of the strike and all the reality shows that came out of it. Let's not go back to that.
If you are still confused about how awesome television is, just watch Jane Lynch's intro to the 2011 Emmys.
Monday, September 12, 2011
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:
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:
- 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.
- 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.
- 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.
- 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.
Monday, August 15, 2011
How many times can you face rejection and still keep going?
Recently, I read an article about how Kathryn Stockett's novel "The Help" was rejected 60 times by publishers before finally being bought by Amy Einhorn Books. She never gave up, even at rejection 59 she kept pushing.
Not to take anything away from her amazing resilience and perseverance, but most of us actors face this amount of rejection or more in any given year.
Mark Ruffalo went on 800 auditions before someone finally said yes to him. That's right he had over 800 rejections and still kept on trying. Finally, his persistence paid off and now he is not only one of the most talented actors out there but also very successful.
When I first moved to Los Angeles, I had friends who thought I would try this for a bit and when it didn't work out just go back home and get a regular job. Some still ask, "when are you coming home?" The answer is: I'm not.
After Melissa Leo was let go from her breakthrough role on "Homicide: Life on the Streets" she didn't book another part for a few years. If she had taken that as a sign that she needed to give up and go home she wouldn't have an Oscar today.
Actors have multiple opportunities for rejection every day from your agent's submission on a breakdown to the preread to the call back to the studio test. For every actor you see on an episode of CSI think of how many actors were rejected for that part.
Why do we keep putting ourselves through so much rejection?
Because someone has to get the part and there will be that moment where you are the right person at the right place at the right time and the part will be yours.
On the days you feel like you can't face another rejection those are the days you have to push the hardest. So, keep on pushing guys!
Not to take anything away from her amazing resilience and perseverance, but most of us actors face this amount of rejection or more in any given year.
Mark Ruffalo went on 800 auditions before someone finally said yes to him. That's right he had over 800 rejections and still kept on trying. Finally, his persistence paid off and now he is not only one of the most talented actors out there but also very successful.
When I first moved to Los Angeles, I had friends who thought I would try this for a bit and when it didn't work out just go back home and get a regular job. Some still ask, "when are you coming home?" The answer is: I'm not.
After Melissa Leo was let go from her breakthrough role on "Homicide: Life on the Streets" she didn't book another part for a few years. If she had taken that as a sign that she needed to give up and go home she wouldn't have an Oscar today.
Actors have multiple opportunities for rejection every day from your agent's submission on a breakdown to the preread to the call back to the studio test. For every actor you see on an episode of CSI think of how many actors were rejected for that part.
Why do we keep putting ourselves through so much rejection?
Because someone has to get the part and there will be that moment where you are the right person at the right place at the right time and the part will be yours.
On the days you feel like you can't face another rejection those are the days you have to push the hardest. So, keep on pushing guys!
Monday, May 30, 2011
Who the heck booked Pilots this year?
Now that the upfronts are pretty much over and we know which pilots got picked up and which ones didn't, there are those of us actors who didn't even get to go out for pilots much less book one. So, of the pilots that got produced who did get those jobs?
James J. Jones owner of The Premier Talent Group did the math for those of us not good with numbers:
I spent a number of days helping out at my agent's office during "pilot season" and can tell you that no matter how much he pitched it was hard to even get an audition for any talent who did not already have significant credits. One of my agents was pitching me for a co-star role and they told her it had gone to an offer.
On top of all the roles going to offers many of the Pilots were filmed outside of LA.
That tells me it is time to either marry a Canadian so I can legally work up there or make some magic happen with the local hire casting offices outside of LA.
Now you can either take all this information and chose to be discouraged, but I don't think that is the right response. I think it is even more evidence that you can't rely on other people to give you opportunities to do your art. Create your own films!
Need some inspiration? See what your colleagues are creating by joining us at the Playhouse West Film Festival to be educated and inspired.
*See the complete 2011 PILOT REPORT from The Premier Talent Group
James J. Jones owner of The Premier Talent Group did the math for those of us not good with numbers:
“2011 PILOT SEASON stratification by the numbers
Of the 529 Series Regular Roles (assuming that named
doing recurring roles):
Of the 529 Series Regular Roles (assuming that named
doing recurring roles):
112 or 21.2% Went to NAMED ACTORS
262 or 49.5% - Went to KNOWN ACTORS
374 or 70.7% - Went to NAMED AND KNOWN ACTORS
262 or 49.5% - Went to KNOWN ACTORS
374 or 70.7% - Went to NAMED AND KNOWN ACTORS
*Of the additional 27.3% of the bookings, almost all of them had significant credits
as series recurring actors or series regulars in shows that did not last long. Only 7
bookings (2.0%) would be considered truly developmental received series regular
roles, and many of these went to the under 18 category.
as series recurring actors or series regulars in shows that did not last long. Only 7
bookings (2.0%) would be considered truly developmental received series regular
roles, and many of these went to the under 18 category.
In short,
21.2% of series roles went to bonafide star names (ie Ethan Hawke and Christina Ricci).
49.5% of series regulars went to former series regulars of major shows.
27.3% of series regular roles went to heavy working actors with numerous.
series recurring roles and/or series regular roles of shows that did not last.
2.0% of series regular roles went to true developmental actors."
49.5% of series regulars went to former series regulars of major shows.
27.3% of series regular roles went to heavy working actors with numerous.
series recurring roles and/or series regular roles of shows that did not last.
2.0% of series regular roles went to true developmental actors."
I spent a number of days helping out at my agent's office during "pilot season" and can tell you that no matter how much he pitched it was hard to even get an audition for any talent who did not already have significant credits. One of my agents was pitching me for a co-star role and they told her it had gone to an offer.
On top of all the roles going to offers many of the Pilots were filmed outside of LA.
"As of April 18th, Variety was reporting that confirmed Pilot Shoots will occur in:
United States
48 Los Angeles
11 New York (Unt. Susannah Grant, Over & Under, Unt. Redlich/Belluchi, Prime
Suspects, Smash, Weekend at Bellevue, Georgetown, Persons of Interest,
Ringer, Rookies and Pan Am)
4 Florida (Bad Mom, Magic City, The Finder, Angels)
4 Illinois (Cooper and Stone;; Boss, Playboy)
2 Georgia (Hail Mary, Partners)
2 New Mexico (Reconstruction, Longmire)
2 North Carolina (Revenge;; Hart of Dixie)
1 Oregon (Grimm)
1 Louisiana (Wild Card)
1 Texas (Good Christian Bitches)
1 Pennsylvania (Locke and Key)
48 Los Angeles
11 New York (Unt. Susannah Grant, Over & Under, Unt. Redlich/Belluchi, Prime
Suspects, Smash, Weekend at Bellevue, Georgetown, Persons of Interest,
Ringer, Rookies and Pan Am)
4 Florida (Bad Mom, Magic City, The Finder, Angels)
4 Illinois (Cooper and Stone;; Boss, Playboy)
2 Georgia (Hail Mary, Partners)
2 New Mexico (Reconstruction, Longmire)
2 North Carolina (Revenge;; Hart of Dixie)
1 Oregon (Grimm)
1 Louisiana (Wild Card)
1 Texas (Good Christian Bitches)
1 Pennsylvania (Locke and Key)
Outside of the United States
5 Vancouver, Canada (17th Precinct, Secret Circle, Alcatraz, Heavenly and Once
Upon a Time)
2 Toronto, Canada (Awakening, Poe)
1 Prague/Rome/Vienna (Missing)
1 Puerto Rico (The River)
1 Montreal, Canada (Identity)"*
5 Vancouver, Canada (17th Precinct, Secret Circle, Alcatraz, Heavenly and Once
Upon a Time)
2 Toronto, Canada (Awakening, Poe)
1 Prague/Rome/Vienna (Missing)
1 Puerto Rico (The River)
1 Montreal, Canada (Identity)"*
That tells me it is time to either marry a Canadian so I can legally work up there or make some magic happen with the local hire casting offices outside of LA.
Now you can either take all this information and chose to be discouraged, but I don't think that is the right response. I think it is even more evidence that you can't rely on other people to give you opportunities to do your art. Create your own films!
Need some inspiration? See what your colleagues are creating by joining us at the Playhouse West Film Festival to be educated and inspired.
*See the complete 2011 PILOT REPORT from The Premier Talent Group
Sunday, May 15, 2011
It's Your Audition, Own It!
I was out of town this week and as is often the case when I leave Los Angeles – I got an audition.
I swear there should be Travel Agency for Actors that plans wonderful vacations for us, virtually guaranteeing amazing auditions on the day after we are supposed to leave town.
Luckily for me this casting office was willing to accept a self-tape audition. My dad and I found an empty wall in the house, brought every light into the room that we could gather and shot the sides on my 7D. Dad made an excellent reader.
After approximately 50 takes (I'm very critical of myself), I edited the best ones on iMovie and emailed it off to the casting office.
I know I always say after an audition you should forget about it, but apparently I am not good at practicing what I preach. The next morning in the shower, it hit me: I’D COMPLETELY MISINTERPRETTED THE SCENE!
I immediately did the actor-thing of beating myself up. How could I have screwed up a self-taped audition? How could I have ruined my one opportunity to impress this casting office? All the usual self-flagellating things that actors do.
In the midst of my inner monologue filled with self-hate, my mother points out I could always just film it again the other way and send it to them. My first response was: No, I don’t want to bother them. But, after a little pushing from my mom, I reconsidered and decided: what do I have to lose? So, we set up the wall again and I did the scenes with my new take. Mom also made an excellent reader.
I edited it and emailed it off, with a nice note to the casting office. And to my surprise they weren’t annoyed or put out; they actually sent a note of thanks back.
Don’t be afraid of casting, they want you to do the best you can, and if you truly hated your audition and know you can do it differently ask them if you can do it again. The time you have with casting is your time, don’t leave feeling like you didn’t do everything you wanted to do.
Tuesday, May 10, 2011
Just Waiting for Someone to Wake Me Up
Over the last couple months, I’ve been working as a reader at a feature film casting office. What was interesting about this particular experience was that we were working on only one role for 6 weeks. I read with over 200 hundred actors all doing the exact same 5 page scene. Trust me, at this point I know every line in that scene inside and out. I can do the scene in my sleep and I hate to admit it but there were times when I was pretty much asleep during the session.
If good acting is listening and reacting, then I fully admit during these auditions I was not always a good actor. But every once in awhile, an actor would come in and really draw me out; these few would force me to pay attention.
It reminds of something a casting director once told me: in auditions he was usually just waiting for an actor to wake him up.
I started trying to figure out the difference between the boring actors that have now all run together in my head and the few that forced me to notice them. Honestly, the ones that really woke me up were the ones that I could tell were truly paying attention to me. In the scene they weren’t just talking at me but were listening to me and making sure that I understood them.
The ones that were good were more concerned about me than how they looked or if they were acting “right.” It made them live truthfully in the situation, which is something actors are wonderful at on stage or on set, but for some reason find nearly impossible in the audition room.
When you go into an audition, take the pressure off yourself and put all the attention on the other person. It will help you relax and one thing a casting director always likes to see is a relaxed, confident actor. Those actors make the casting directors job so much easier.
Monday, April 18, 2011
Stop Worrying so Much!
This audition doesn’t matter. Seriously, whatever audition you are about to go on does not matter nearly as much as you think. There will always be another audition, another pilot season, another feature film, even another agent or manager. Actors often act like if they don’t get this job it will be the end of the world. Trust me, it won’t. This is not your last chance!
I don’t say this so you can feel okay about going into your next audition unprepared. I say this because that desperation you feel to get this job shows up all over your face from the moment you walk in the room.
You know how you hear about people finding the “right one” the moment they stop looking for them and then they get married and live happily ever after? That’s because they stopped being desperate. It’s the same with getting a job. When you worry about each audition like it’s your last chance, you aren’t relaxed and that can prevent you from getting the job.
Jenna Fischer, who plays Pam Beasley on “The Office,” has a great story about when she pretty much gave up on acting and she suddenly found success. She had been in Los Angeles pursuing her acting career for about 10 years. She had some co-stars, gone out for pilots, and such but hadn’t found a way to make a living as an actress. She decided it was time to pursue a new career and chose to go to veterinary school.
Since she was very close to her manager and agent she decided to give them one more pilot season before completely giving it up. But she had something else now and each audition wasn’t the end all be all for her. That is when she got cast in “The Office.” That’s not to say she didn’t come prepared for the audition, I am sure she did all that work, but I’m willing to bet she wasn’t nearly as worried about whether or not she got the job.
I’m not saying you have to have a back up career already in your pocket, but you shouldn’t look at each audition as if it’s this or nothing. Because it’s not. They are always going to be making another movie. Television shows are going to be cancelled and new ones will have to be made to fill their slots. They will always need actors.
I told you this is acting thing is a long-term project, so stop trying to be an overnight success.
Sunday, February 20, 2011
Why should you listen to me?
First off, you probably shouldn't. In this town, anybody who says they know anything is probably lying and trying to sell you something. In Hollywood there are no hard and fast rules and when there are "rules" you can always find someone who has broken them and made it. I am just an actor who has done this long enough to have made most of the mistakes an actor can make and for all the mistakes I haven't made, just give me time.
I once read (and I don't remember where, so this is me trying to quote it as best I can) that "anyone can act, that's why you see so many people getting off the bus in Hollywood trying to be an actor and so few people getting off the bus in Houston trying to be an astro-physicist." I think that is one of the amazing things about this business, anyone can "make it." But, for every fresh-off-the-bus-actor who is offered a series regular role on the next "Friends" there are literally thousands who go home after two years of waiting tables, never knowing how to even get close to being in that small circle of working actors.
Just to be clear, I am not one of those people who gets to make a living being a "working actor." I have a survival job, but I have gotten paid to act on rare occasions and it's like heroin, I work the survival job in order to pay for my few hits. That's why you have to love it more than anything else you could possibly do.
There are ways to slowly chip away at the inner circle of Hollywood elite and after a lot of work you might find yourself among them. You have to understand that it is a life long process. If you are willing to sacrifice and put in the time, you can make it - whatever "making it" means.
I am starting this blog to share with you the bumps I have hit along my journey, in hopes that you can learn from the mistakes I've made. In return, I only ask that when you are accepting your Oscar that you give me a shout out.
I once read (and I don't remember where, so this is me trying to quote it as best I can) that "anyone can act, that's why you see so many people getting off the bus in Hollywood trying to be an actor and so few people getting off the bus in Houston trying to be an astro-physicist." I think that is one of the amazing things about this business, anyone can "make it." But, for every fresh-off-the-bus-actor who is offered a series regular role on the next "Friends" there are literally thousands who go home after two years of waiting tables, never knowing how to even get close to being in that small circle of working actors.
Just to be clear, I am not one of those people who gets to make a living being a "working actor." I have a survival job, but I have gotten paid to act on rare occasions and it's like heroin, I work the survival job in order to pay for my few hits. That's why you have to love it more than anything else you could possibly do.
There are ways to slowly chip away at the inner circle of Hollywood elite and after a lot of work you might find yourself among them. You have to understand that it is a life long process. If you are willing to sacrifice and put in the time, you can make it - whatever "making it" means.
I am starting this blog to share with you the bumps I have hit along my journey, in hopes that you can learn from the mistakes I've made. In return, I only ask that when you are accepting your Oscar that you give me a shout out.
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