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 casting. Show all posts
Showing posts with label casting. 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.
Monday, April 1, 2013
Is it Okay to Take a Break?
I've seen many actors burn out because they don't give them selves a break. Wanting to go all in makes sense when following a dream that probably took you away from home, away from your friends and families. I've seen friends take that to an extreme forsaking any kind of social life for classes, workshops, and only their careers.
Of course you should be focused on your career and you all know how important I think classes are, but don't forget to have a life as well. Remember, your career is a marathon not a sprint. I've seen friends spend nearly everyday going from class to their day job and then back to class without stopping. Often those are the ones that give up because they can't maintain that level of energy.
Beyond not having the stamina to keep up, it's important for actors to experience life. Recently, John Hawkes gave seven tips to survive the film industry. He spoke about how much he learned about acting by hitchhiking a thousand miles. He also said that it's important to loaf occasionally.
I believe that stepping back sometimes is okay. Get a hobby. Find something else that you love other than your career. It gives you perspective.
I love traveling. When the opportunity came up for me to go to Israel and Jordan, even though it was the middle of pilot season, I jumped at the chance. The trip was a dream come true (I got to go to Petra, which was a bucket list thing for me.) I don't regret it. There will be other pilot seasons, other opportunities to work.
Yes, it's important to work hard, go to class, and do what you can for your career. But, remember this is also your life. So, don't forget to live it.
Of course you should be focused on your career and you all know how important I think classes are, but don't forget to have a life as well. Remember, your career is a marathon not a sprint. I've seen friends spend nearly everyday going from class to their day job and then back to class without stopping. Often those are the ones that give up because they can't maintain that level of energy.
Beyond not having the stamina to keep up, it's important for actors to experience life. Recently, John Hawkes gave seven tips to survive the film industry. He spoke about how much he learned about acting by hitchhiking a thousand miles. He also said that it's important to loaf occasionally.
I believe that stepping back sometimes is okay. Get a hobby. Find something else that you love other than your career. It gives you perspective.
I love traveling. When the opportunity came up for me to go to Israel and Jordan, even though it was the middle of pilot season, I jumped at the chance. The trip was a dream come true (I got to go to Petra, which was a bucket list thing for me.) I don't regret it. There will be other pilot seasons, other opportunities to work.
Yes, it's important to work hard, go to class, and do what you can for your career. But, remember this is also your life. So, don't forget to live it.
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.
Thursday, February 7, 2013
Getting Used to Rejection
As an actor we all know that rejection is part of the game. Rejection is something we have to face daily and just keep moving forward.
But knowing rejection is common doesn't make it any easier to take. And the ugly thing is that it doesn't really stop. No matter how famous or talented you are there will be some role you didn't get or some award that goes to someone else.
I had one of those weeks recently where I could do nothing right. Every audition, every class, every workshop went wrong and by the end of that week I was certain I was the worst actor in all of Los Angeles.
I'm not going to lie, I may have quit acting multiple times and cried a bit. It was a tough week.
You know who got me through this bad week? Leonardo DiCaprio.
Yep, Leo.
I thought about how not only has he never won an Oscar - he wasn't even nominated this year for his performance in "Django," which was pretty darn good.
What it made me realize is that with acting, as with any art, everyone has an opinion and many disagree with mine. You can't create art if you are worried about what other people will think or if you will be rejected. It will stifle you.
I've been doing this for quite some time and the rejection still hurts. I wish I could be one of those people who just takes it in stride and moves on to the next thing. But I'm not, I have a tendency to fixate and worry about what I could have done differently.
In the end, I don't think you could have done anything differently than simply bringing yourself into the room. Don't try to be anyone else. Just be prepared and be who you are. Either they'll want you or they won't.
And if they don't then you don't need them either.
But knowing rejection is common doesn't make it any easier to take. And the ugly thing is that it doesn't really stop. No matter how famous or talented you are there will be some role you didn't get or some award that goes to someone else.
I had one of those weeks recently where I could do nothing right. Every audition, every class, every workshop went wrong and by the end of that week I was certain I was the worst actor in all of Los Angeles.
I'm not going to lie, I may have quit acting multiple times and cried a bit. It was a tough week.
You know who got me through this bad week? Leonardo DiCaprio.
Yep, Leo.
I thought about how not only has he never won an Oscar - he wasn't even nominated this year for his performance in "Django," which was pretty darn good.
What it made me realize is that with acting, as with any art, everyone has an opinion and many disagree with mine. You can't create art if you are worried about what other people will think or if you will be rejected. It will stifle you.
I've been doing this for quite some time and the rejection still hurts. I wish I could be one of those people who just takes it in stride and moves on to the next thing. But I'm not, I have a tendency to fixate and worry about what I could have done differently.
In the end, I don't think you could have done anything differently than simply bringing yourself into the room. Don't try to be anyone else. Just be prepared and be who you are. Either they'll want you or they won't.
And if they don't then you don't need them either.
Monday, January 28, 2013
How I'm Handling Pilot Season
Pilot season can seem to go in two different ways depending on who you are. The first group are the actors with top agencies who are going out all the time. These are the actors that are going out so much that they actually complain about it. Seriously, I've heard them complain, ugh.
The second group of actors are the ones who desperately want to be going out for pilots, but are not getting called in for anything. The ones who maybe don't have as much experience or aren't with one of the big five agencies. I am in this group and as a member of this group I can say it sucks. Pilot season will seem to last forever with maybe an audition or two if I'm lucky. So, the question is how do you make the most out of being in the second group?
Here is how I am handling Pilot Season. I help out at my agent's office and make sure I go in at least once a week. The day I go in is one of the days that they have their pilot meetings and I get to sit in on that. This allows me to keep very up-to-date on where the pilots are in their casting process.
I also got a copy of their pilot grid which gives you tons of information about every pilot being produced or that they are considering to produce. It tells you what network is producing it, the plot summary, character list, the casting director, and more. I use the grid to figure out which pilots I might be right for and then get those scripts. Pilot scripts are rarely secret (unless it's a JJ Abrams or Joss Whedon show) and floating around all over the place. I can usually get them from my agents, but if you don't have an agent ask around to your friends.
Once I have the scripts of the shows I am interested in, I work on the role I want - just like I would if I was called into the office for an audition. If I can get a hold of the actual sides, I will use those. If there aren't sides available I will just use my favorite scene. Then I put myself on tape for the role. I send that on to my agent who can pass it on to casting.
Will this get me into casting rooms? I don't know. I am getting a lot out of just watching myself on tape - working on my on-camera skills. And you never know what can happen.
How are you handling pilot season? What are you doing to get yourself out there?
The second group of actors are the ones who desperately want to be going out for pilots, but are not getting called in for anything. The ones who maybe don't have as much experience or aren't with one of the big five agencies. I am in this group and as a member of this group I can say it sucks. Pilot season will seem to last forever with maybe an audition or two if I'm lucky. So, the question is how do you make the most out of being in the second group?
Here is how I am handling Pilot Season. I help out at my agent's office and make sure I go in at least once a week. The day I go in is one of the days that they have their pilot meetings and I get to sit in on that. This allows me to keep very up-to-date on where the pilots are in their casting process.
I also got a copy of their pilot grid which gives you tons of information about every pilot being produced or that they are considering to produce. It tells you what network is producing it, the plot summary, character list, the casting director, and more. I use the grid to figure out which pilots I might be right for and then get those scripts. Pilot scripts are rarely secret (unless it's a JJ Abrams or Joss Whedon show) and floating around all over the place. I can usually get them from my agents, but if you don't have an agent ask around to your friends.
Once I have the scripts of the shows I am interested in, I work on the role I want - just like I would if I was called into the office for an audition. If I can get a hold of the actual sides, I will use those. If there aren't sides available I will just use my favorite scene. Then I put myself on tape for the role. I send that on to my agent who can pass it on to casting.
Will this get me into casting rooms? I don't know. I am getting a lot out of just watching myself on tape - working on my on-camera skills. And you never know what can happen.
How are you handling pilot season? What are you doing to get yourself out there?
Saturday, December 8, 2012
How I Network
A couple months ago I got an audition for a co-star on a television drama through my agent. Once I got there I realized that the casting assistant running the session is someone I've interned for at other offices on a number of occasions. Now, I don't know this for sure, but I am pretty positive that the reason I got this audition was because of my relationship to the casting assistant. While I was there I made sure to offer my intern services to the casting assistant again.
I am terrible at networking parties or those sorts of things. Mainly because I am too busy eating whatever free food is available. Trust me, if there is a cheese plate in a room I will probably not be more than two feet away from it the entire night. Besides I never know what to say to anyone and generally just glue myself to the one person in the room that I already know.
Since traditional networking doesn't work for me, I've had to come up with other ways to build and form relationships.
Let's go back to this casting assistant that called me in. My first introduction to her was when she was extras casting looking for volunteers on a ultra low budget film. It was a project working with some cool people so I volunteered. Months later she was casting a music video and remembered me. It was another working for food sort of day but I was happy to come out for it. After the music video shoot I thanked her because it was a lot of fun and asked if she ever needed interns. She was an assistant on a show at the time and took me up on my offer.
I have auditioned for her twice since then for two separate shows and I know if there is ever any thing I'm right for she'll call me in.
But, I didn't start my relationship with her with some kind of agenda or end goal in mind. I simply offered to help when I could.
Remember you are building relationships, it can't be only about what you can get out of it. I always help out on my friends' short films, intern when I can, and just try to be helpful in general. People will notice and even if it doesn't pay off immediately, it will eventually.
I am terrible at networking parties or those sorts of things. Mainly because I am too busy eating whatever free food is available. Trust me, if there is a cheese plate in a room I will probably not be more than two feet away from it the entire night. Besides I never know what to say to anyone and generally just glue myself to the one person in the room that I already know.
Since traditional networking doesn't work for me, I've had to come up with other ways to build and form relationships.
Let's go back to this casting assistant that called me in. My first introduction to her was when she was extras casting looking for volunteers on a ultra low budget film. It was a project working with some cool people so I volunteered. Months later she was casting a music video and remembered me. It was another working for food sort of day but I was happy to come out for it. After the music video shoot I thanked her because it was a lot of fun and asked if she ever needed interns. She was an assistant on a show at the time and took me up on my offer.
I have auditioned for her twice since then for two separate shows and I know if there is ever any thing I'm right for she'll call me in.
But, I didn't start my relationship with her with some kind of agenda or end goal in mind. I simply offered to help when I could.
Remember you are building relationships, it can't be only about what you can get out of it. I always help out on my friends' short films, intern when I can, and just try to be helpful in general. People will notice and even if it doesn't pay off immediately, it will eventually.
Monday, November 26, 2012
Just Do the Work
I recently saw "Flight" and Q&A with director, Robert Zemeckis, and writer, John Gatins. It's a decent film with an amazing cast, but among all these huge names like Don Cheadle, John Goodman, and Denzel (big enough you know who I'm talking about with just his first name) there was a standout performance from a not well known character actor - James Badge Dale. You are forgiven if you have no idea who he is.
During casting his role was "Cancer Guy" and according to IMDb he is "Gaunt Young Man." If you've seen the film, you'll know who I am talking about because it is quite possibly the most memorable scene of the entire film. He only had one scene, one speech, and a few lines - but, it's not one you will quickly forget.
The story of how he got the role all the way to how he prepared for it is filled with juicy tidbits every actor should know.
LESSON NUMBER ONE
James was called in for a different role - Lang, the lawyer role that ended up going to Don Cheadle. He went in to read with Casting Director, Victoria Burrows, and asked if he could also read for "Cancer Guy." This was a strange request - not only was Cancer Guy a smaller part, it was also written for a much younger guy. She acquiesced and he was amazing in it.
Lesson: Don't be afraid to make requests in the audition room. It is your time. Don't demand to read for another part, but it is okay to ask. The worst that can happen is they'll say no.
LESSON NUMBER TWO
Mr. Zemeckis said as soon as he saw the tape he knew this guy had to do this part. He said he made different choices than everyone else and made it interesting.
Lesson: Ah, back to the age old thing about making choices. You know this, I know this, but it deserves repeating: MAKE STRONG, CLEAR CHOICES in all your auditions.
LESSON NUMBER THREE
James finds out he got the part a while before he is set to film. It is only one scene and he is scheduled to shoot only one day. He then begins to prepare for this role like he would any other, just like if he was the lead. He loses weight and makes himself look like a gaunt cancer patient. I don't know him personally, but I am willing to bet he did a lot of research and knew everything he could about his character - even though we only see him for this one brief instant of his life.
Lesson: Treat every role you are given with the respect it deserves - do the research and don't write it off as "just a small part." You wouldn't want your surgeon to go in saying, "it's just a tonsillectomy, I'm gonna phone it in today."
In the end this is about being a PROFESSIONAL actor and doing your work every step along the way from audition to finished project.
During casting his role was "Cancer Guy" and according to IMDb he is "Gaunt Young Man." If you've seen the film, you'll know who I am talking about because it is quite possibly the most memorable scene of the entire film. He only had one scene, one speech, and a few lines - but, it's not one you will quickly forget.
The story of how he got the role all the way to how he prepared for it is filled with juicy tidbits every actor should know.
LESSON NUMBER ONE
James was called in for a different role - Lang, the lawyer role that ended up going to Don Cheadle. He went in to read with Casting Director, Victoria Burrows, and asked if he could also read for "Cancer Guy." This was a strange request - not only was Cancer Guy a smaller part, it was also written for a much younger guy. She acquiesced and he was amazing in it.
Lesson: Don't be afraid to make requests in the audition room. It is your time. Don't demand to read for another part, but it is okay to ask. The worst that can happen is they'll say no.
LESSON NUMBER TWO
Mr. Zemeckis said as soon as he saw the tape he knew this guy had to do this part. He said he made different choices than everyone else and made it interesting.
Lesson: Ah, back to the age old thing about making choices. You know this, I know this, but it deserves repeating: MAKE STRONG, CLEAR CHOICES in all your auditions.
LESSON NUMBER THREE
James finds out he got the part a while before he is set to film. It is only one scene and he is scheduled to shoot only one day. He then begins to prepare for this role like he would any other, just like if he was the lead. He loses weight and makes himself look like a gaunt cancer patient. I don't know him personally, but I am willing to bet he did a lot of research and knew everything he could about his character - even though we only see him for this one brief instant of his life.
Lesson: Treat every role you are given with the respect it deserves - do the research and don't write it off as "just a small part." You wouldn't want your surgeon to go in saying, "it's just a tonsillectomy, I'm gonna phone it in today."
In the end this is about being a PROFESSIONAL actor and doing your work every step along the way from audition to finished project.
Monday, February 20, 2012
Halfway through Pilot Season
So, how's your pilot season going?
Not great yet? Yeah, me either. That seems to be what I am hearing from all my actor friends. We know there are pilots out there getting cast and none of us are getting auditions.
But, here's the good news: It's not just us. In the first month or two of pilot season the people testing for roles are offers and the ones who already have series regular or big movie credits.
Don't get mad at your agents just yet. If you aren't already a known entity to a casting department then generally your agent's pitching will have little affect getting you in any office at this point in time. Much of casting is working of their lists of favorite actors right now.
So, when is your chance? Don't worry it's coming. Most people say that unknowns will start getting called into offices in March. But, don't set yourself on only series regular roles.
During this pilot season there are episodics still casting. You may suddenly have a better chance getting in on a co-star or guest star because many actors are holding out for a pilot.
I hope you all a better end to your pilot season and I would love to hear when y'all get called in or when you book something!!!
Not great yet? Yeah, me either. That seems to be what I am hearing from all my actor friends. We know there are pilots out there getting cast and none of us are getting auditions.
But, here's the good news: It's not just us. In the first month or two of pilot season the people testing for roles are offers and the ones who already have series regular or big movie credits.
Don't get mad at your agents just yet. If you aren't already a known entity to a casting department then generally your agent's pitching will have little affect getting you in any office at this point in time. Much of casting is working of their lists of favorite actors right now.
So, when is your chance? Don't worry it's coming. Most people say that unknowns will start getting called into offices in March. But, don't set yourself on only series regular roles.
During this pilot season there are episodics still casting. You may suddenly have a better chance getting in on a co-star or guest star because many actors are holding out for a pilot.
I hope you all a better end to your pilot season and I would love to hear when y'all get called in or when you book something!!!
Tuesday, January 31, 2012
January Career Goals Update
One way to help you stay on top of your resolutions is to have people to keep you accountable. So, you guys are now my accountability team. At the end of each month we are going to revisit my career goals I set this New Year's and see how I am doing.
CAREER GOALS
Goal: Attend class unless working an acting gig or sick
Actual: I skipped one Thursday class to go to Disneyland with my sister. My excuse (I know, excuses are a terrible, terrible thing but ...) I had attended 5 classes already that week and needed a mental health day.
Goal: Work on scenes from plays I can put up.
Actual: I have worked on two new scenes already this year, but neither come from a play I would actually put up. I am starting a new scene next week that has a possibility of being a cool play to do.
Goal: Read two plays a month.
Actual: I read "A Few Good Men," "Play It Again, Sam," and "Vanities."
Goal: Find and attend a good on-camera class to supplement my acting classes.
Actual: Started a commercial class with Chris Game.
Goal: Complete editing on both my films before the PWFF early bird deadline.
Actual: The five minute one has a rough cut, but b-roll footage is needed to round it out. The 20-minute one is being worked on by Ricardo.
Goal: Write and produce two more shorts this year.
Actual: Let's finish these other two first.
Goal: Continue to help at the agency once a week.
Actual: I've been helping out at my agency and at some casting offices. On weeks I couldn't go in on my normal day, I would try to go in a different day.
Goal: Find three casting offices that I can help out at as a reader.
Actual: Worked as a reader at two offices already! A feature office and an episodic! I think I will try to add more to this goal.
Goal: Blog every Monday.
Actual: Blogged every week. And I added a new blog: Being Crafty and Cultured in Los Angeles. There you can see how I am doing on my personal goals.
CAREER GOALS
Goal: Attend class unless working an acting gig or sick
Actual: I skipped one Thursday class to go to Disneyland with my sister. My excuse (I know, excuses are a terrible, terrible thing but ...) I had attended 5 classes already that week and needed a mental health day.
Goal: Work on scenes from plays I can put up.
Actual: I have worked on two new scenes already this year, but neither come from a play I would actually put up. I am starting a new scene next week that has a possibility of being a cool play to do.
Goal: Read two plays a month.
Actual: I read "A Few Good Men," "Play It Again, Sam," and "Vanities."
Goal: Find and attend a good on-camera class to supplement my acting classes.
Actual: Started a commercial class with Chris Game.
Goal: Complete editing on both my films before the PWFF early bird deadline.
Actual: The five minute one has a rough cut, but b-roll footage is needed to round it out. The 20-minute one is being worked on by Ricardo.
Goal: Write and produce two more shorts this year.
Actual: Let's finish these other two first.
Goal: Continue to help at the agency once a week.
Actual: I've been helping out at my agency and at some casting offices. On weeks I couldn't go in on my normal day, I would try to go in a different day.
Goal: Find three casting offices that I can help out at as a reader.
Actual: Worked as a reader at two offices already! A feature office and an episodic! I think I will try to add more to this goal.
Goal: Blog every Monday.
Actual: Blogged every week. And I added a new blog: Being Crafty and Cultured in Los Angeles. There you can see how I am doing on my personal goals.
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, January 24, 2012
Don't Talk Yourself Out of a Job
Last week I was helping out at an audition and the scene we were using was only a page. Most of the actors that came in to read were pros who had been in the business a long time and many of them would add a tiny improv to the end of the scene. This is perfectly acceptable in most cases, especially in a pre-read when the writers aren't in the room.
But, make sure you know when to stop. Adding one line is appropriate, but a page long monologue is not.
One very talented comedian came in to read and added over a minute of dialogue after the scene was over. The casting directors tried to get the actor to stop by saying thank you and he just kept talking. Then as I was trying to escort the actor out of the room he did a whole schtick about me. It was like he didn't want to leave the room and it was super uncomfortable for all of us.
I know actors like to be the center of attention and that is especially true for comedians. But, take the temperature of the room and know when your audition is done. One good hint that they want you to leave is when the casting director says, "Thank You." In casting director terms thank you means good bye.
This particular actor talked themselves out of even getting a callback. Their read of the scene was actually one of the better ones, but the casting directors couldn't trust the actor in front of producers.
Don't lose a job because you don't know when to stop talking. Casting directors aren't going to be impressed with your schtick, they just want to see your acting.
But, make sure you know when to stop. Adding one line is appropriate, but a page long monologue is not.
One very talented comedian came in to read and added over a minute of dialogue after the scene was over. The casting directors tried to get the actor to stop by saying thank you and he just kept talking. Then as I was trying to escort the actor out of the room he did a whole schtick about me. It was like he didn't want to leave the room and it was super uncomfortable for all of us.
I know actors like to be the center of attention and that is especially true for comedians. But, take the temperature of the room and know when your audition is done. One good hint that they want you to leave is when the casting director says, "Thank You." In casting director terms thank you means good bye.
This particular actor talked themselves out of even getting a callback. Their read of the scene was actually one of the better ones, but the casting directors couldn't trust the actor in front of producers.
Don't lose a job because you don't know when to stop talking. Casting directors aren't going to be impressed with your schtick, they just want to see your acting.
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