“10 Things NOT to do at an Audition” by Tory Shulman
- First off, DO NOT BE A BITCH in the audition room. I cannot be more clear about this. There is nothing worse than an audition waiting room in terms of silent vibes so MAKE SURE YOURS ARE NICE AND GENEROUS. Everybody in that room is fighting an uphill battle-so lend a hand and let them know if there is a surprise twist in the audition. Be a pal–don’t be a BITCH. My new bumper sticker.
- Don’t wear a ton of perfume. Everyone hates that ESPECIALLY casting directors.
- Don’t seem desperate. Like, you know how you were with that senior guy in high school you were dating as a freshman? Yeah, don’t be like that. The CD is tired and hungry and a lot of pleading and thank you’s is really annoying. Plus if you are quick and pleasant and professional-you look like you’ve done tons of these auditions before which is always a big plus!
- Don’t park at a metered spot if you can help it. You will inevitably get a ticket or have to feed it or move it in wearing your heels which sucks ass.
- Don’t make lunch plans afterwards. You will be there longer than you think.
- When you enter the audition room, make sure to look everyone in the eye and say hi. EVEN the reader or the quiet hipster sitting in the back of the room who looks bored and is playing a game on his Android. THIS IS PROBABLY THE DIRECTOR!! I also happen to say something stupid like: “And here is my headshot, where I look incredibly hungry…”
- Make sure you stay in frame. Your shot is not usually a huge one so make sure whatever movements you are doing, whether it be for laughs or tears, keep them small and keep them high so you are always in frame.
- Come in with energy. This one I am particular about. Don’t come in with “Ive just been on meth” energy but you have to at least tickle the CDs enough to start to paying attention to you. It’s been a long day for them and their dog probably puked this morning and they are wondering if their beloved Bailey the Golden Retriever ate chocolate…so you HAVE to grab their attention. If you are a firecracker–great! Keep it up. But if you are sometimes low energy, inject some red bull into your veins.
- Get dressed to the 9’s. 10’s are even better. My manager has the a saying: “Always Bring It Always.” Hair should be done nicely, make up should be done nicely. You need to look your best EVERY time because Sasha, Andrea and Jennifer over there are putting in the time and energy and so should you.
- Come PREPARED. Beyond prepared. Now this doesn’t mean I agree with over rehearsing a scene to death. I see some chicks reading over the sides like 12,000 times and at 11,375–you are going to just burn out the scene. But make sure you know your lines. AND make sure you know the stage directions EVEN IF THEY ARE IN A PARENTHESES. If it says “(Eloise then laughs a fake French laugh) I am going to milk that direction for all that it is worth. Don’t be dumbfounded and surprised at your stage directions and your cues cause you will look stupid and sad and I will float into your mind and say “I told you so.” No I wouldn’t! I’m rooting for you all!
(by Tory Shulman)
Advice From a Talent Manager
Hi Lesly,
I wrote a talent manager I really like [which resulted in the following] great email chain. I feel extremely compelled to share and he was happy to let me share his advice:
Me: … I appreciate the fact that you wouldn’t pit your own clients against each other by keeping your roster fair and diverse. . .
Talent Manager: Sure thing. Rosters change and you never know what happens over time. But when you do check back in, always do it with fresh tape so I know what you’re up to and there is a point to the reconsideration. This is just a good rule of thumb with the industry in general. Always try to come back with a new piece of business when trying to entice a rep. (Winning an award was a good reason, but new tape is even better.) I’ve had actors with bad tape, just show up every six months with the same bad tape. That approach, not so surprisingly, gets them nowhere. But I know it’s hard getting good representation and people have to try something.
Me: Thanks for the advice . . . I can’t imagine what it would be like to have hopeful actors always knocking down my door in this town and it’s very kind of you to give feedback…
Talent Manager: Hey, remember that just as actors are knocking down my door and getting rejected, I spend my days trying to knock down casting, network, and producer doors and often get rejected. I live for the YES, but I hear a lot of NO in order to get a YES. And those casting directors lose jobs to their often less-talented peers. And America is telling those networks that they don’t like a lot of the shows that cost millions to make. And those producers work years to make a movie that no one goes to see. Everyone struggles. That’s why it’s important to stay in the game and be resilient.
AH!!! How awesome is that? I figured this was share-worthy.
Jessica H
[emphasis added by LK]
10,000 Hours
This is what the 10,000 hours reference is all about: http://www.youtube.com/watch?v=Kq2n1Jlx5P0.
“How to Read a Script As an Actor”
An excerpt from Stephen Tobolowsky’s blog:
“I have spent my life reading scripts. Some of them have been good. Most weren’t. But it didn’t matter because I wanted to be in all of them – even the one with the bionic dog. . . .
I would like to share with you some of the things I’ve learned along the way – tips for auditioning and performing. I hope they help. If not, I hope, at least, they’re not annoying.
The first problem I always have is reading the script. It’s never easy. It’s not that the language is difficult. Good or bad, scripts are always filled with things that are incomprehensible.
For example, I have read many television dramas where the writer has described a character as LAWYER, 40. That’s if the part was written for a man. If the same part was written for a woman, the script will say LAWYER, 34, ATTRACTIVE.
As actors, we read that and move on, not even aware that we are already lost. Personally, I have no idea what any of those descriptions mean in terms of auditioning or playing a part. I don’t know what “LAWYER” means. I don’t know what “40” means. I certainly don’t know what “ATTRACTIVE” means. I’m not joking. This is a first real challenge in working with a script.
Take “LAWYER.” Am I a good lawyer or a bad lawyer? Do I come from a long line of lawyers, or am I the first person in my family that got a college education? The answer may not be in the script. It not only makes a difference, it makes all the difference in the world.
Often the writers and directors aren’t aware of the pockets of nothing that are in their projects. It is the actor’s job to find them and fill that nothing with something – hopefully something truthful. I have found that true always trumps clever.
To do that, we have to be aware of what questions to ask. Then, we have to ask them. None of that is easy.”
-Stephen Tobolowsky, http://stephentobolowsky.wordpress.com/
THE AUDITION ROOM
So now that you know that they want you to succeed, just forget about them. Have fun for YOU!!!! PLAY!!! Be your confident self and HAVE FUN IN THE ROOM!!! Yes, just be yourself. Look, you’re getting an opportunity to do what you love – act! So enjoy the hell out of it. Love the process. BE FULLY PRESENT, HAVE FUN, REALLY LISTEN and LET GO!!! YOU CAN DO IT!!!! YES YOU CAN!!!
SPIN CITY
I was transcribing an episode of SPIN CITY today and as I was writing down the dialogue I kept noticing that the lines on the paper weren’t that funny but they became really funny when the actors were saying them. This was because the actors had super specific thoughts and POV’s.
For example, here’s an excerpt of dialogue:
CARTER: You’re late.
PAUL: Fire me.
CARTER: Where have you been?
Now here’s the lines with what the actors brought to it:
CARTER: (thought: “I’ve been waiting for you”): You’re late.
PAUL: (all smiles, floating on a cloud of joy, not a care in the world. thought: “can’t bring me down!”): Fire me.
CARTER: (catching on, smiling. thought: “give me the details, buddy?”): Where have you been?
I did this for about ten pages worth of material. It was amazing what I found. Lines that weren’t that funny, until the actors brought them to life. They brought them to life by adding super specific thoughts and POV’s!
Joe P
The Toolshed of Talent
Dear Les,
. . . I was describing the [Intensive] to a friend in Texas and he said it sounded like you went in to the toolshed of talent and instinct in my head and started labeling everything and putting it in its proper place so that I can easily go in and find whatever tool I need, whenever I need it instead of hunting around the jumbled mess that was there before.
Daved W
Bob Lefsetz: Hobbyist/Professional
HOBBYIST
Pays for his equipment.
PROFESSIONAL
Gets it for free.
HOBBYIST
Earns his living outside music, his career is first, music is second.
PROFESSIONAL
First goal is to give up his day job, second goal is to make a lot of money.
JOURNEYMAN
A subset of professional. A journeyman just loves to play, get high, go on the road, experience the camaraderie.
STAR
Needs to dominate. Being a member of the group is not enough. If he or she can’t make it to the very top, they’re disappointed.
STAR
Knows he must be batting 1000 in at least one department. Must be able to sing, play or is beautiful. In a perfect world, all three. If you’re not batting 1000 in one of these categories, either practice or admit you’re a hobbyist.
JOURNEYMAN
If you want to play behind the best, your first skill must be networking. Your second skill must be the ability to get along. Your third must be your playing. If you get in the door and can’t deliver musically, you’re going to wash out. If you’re a journeyman, practice is essential. You should never be the weak link. You should not only pick up where the front person is going, you should make him or her look better.
HOBBYIST
Has got no idea what it takes to make it. You can read “Billboard” and the rest of the trade magazines, they give you no idea how business is done, nor do any conferences or seminars illuminate the business fully. In order to know the business, you must know those in it. The music business is ruthless. Many want to be in it and it’s almost impossible to stay in it. Before you decry the person at the top, investigate how he got there and how he stays there.
STAR
Long or short term? Short term…go on TV, although that paradigm is evaporating as I write this. “X Factor” is a nonstarter, the new “Idol” will be irrelevant and “The Voice” will crater soon, just like “Millionaire.” Short term stars should think about getting out as soon as they get in. Become a movie star, tie in with the Fortune 500, you’re running a business, credibility is irrelevant. If you’re a long term star, your material is key, as is your credibility, think about tomorrow in every decision you make today.
HOBBYIST
Copies the riffs.
PROFESSIONAL
Creates the riffs.
HOBBYIST
Plays for money and complains the club owner is ripping him off.
PROFESSIONAL
Scalps his own tickets or keeps prices artificially low and employs paperless ticketing to get tickets in the hands of his fans.
HOBBYIST
Has no fans.
PROFESSIONAL
Relies on his fans. If your only fan is your label and radio, you’re in trouble.
JOURNEYMAN
Might have a few fans in the audience, but his fans are the stars.
HOBBYIST
Buys off the rack.
PROFESSIONAL
Believes in customization.
HOBBYIST
Is all about the truth.
PROFESSIONAL
Never speaks the truth in public.
JOURNEYMAN
Only speaks the truth to other journeymen. Otherwise, his job is in jeopardy.
HOBBYIST
Will never become a professional. He’s too wrapped up in his cocoon, he believes in safety, despite people telling him how good he is. It’s a personal leap of faith to professionalism, and he’s not willing to make it.
PROFESSIONAL
Exudes self-confidence. Is willing to risk everything to make it. Passion and desire are almost equal to talent.
HOBBYIST
Is afraid of getting screwed.
PROFESSIONAL
Has and will continue to get screwed until he becomes a superstar. If you haven’t been screwed, you haven’t made it.
JOURNEYMAN
Laughs about being screwed. His joy is in playing.
HOBBYIST
Has no manager.
PROFESSIONAL
Has a manager who is the secret to his success. Without a good manager, you’ve got no career.
JOURNEYMAN
Is his own manager. Nobody else cares that much.
HOBBYIST
Makes his records at home.
PROFESSIONAL
Makes his records in his engineer’s home.
JOURNEYMAN
Makes his records at home.
HOBBYIST
Thinks it’s all about luck and life isn’t fair.
PROFESSIONAL
Makes his own luck and isn’t concerned with fairness.
HOBBYIST
Has time to give his opinion.
PROFESSIONAL
Is too busy working to give an opinion.
HOBBYIST
Fields no offers. He creates demand.
PROFESSIONAL
Sifts through more offers as he gets more successful. Eventually gets to the point where he employs someone else to say no, so he doesn’t look bad.
JOURNEYMAN
Is a juggler. He’s thinking about not only this gig, but two down the line.
HOBBYIST
Is genuine all the time.
PROFESSIONAL
Is rarely genuine, he doesn’t trust people and is wary of being stepped on, having his career thwarted.
HOBBYIST
Talks like he knows everybody.
PROFESSIONAL
Actually knows everybody.
HOBBYIST
Pays for his concert tickets.
PROFESSIONAL
Can always get in, can always pay, but usually is invited for free and rarely shows up.
HOBBYIST
No one cares if he’s absent.
PROFESSIONAL
You feel his absence.
HOBBYIST
Sells crap. Stunned that the world doesn’t stop and see its “greatness.”
PROFESSIONAL
Doesn’t go to market without an ace, a killer song or production.
HOBBYIST
Wastes time arguing.
PROFESSIONAL
Has got no time. If he hits a roadblock, he finds another way.
HOBBYIST
Is thrilled to be playing live anywhere.
PROFESSIONAL
Will not play unless you pay him, no matter what the promotional advantages or how good the cause is (unless it’s a radio station show).
HOBBYIST
Can see today.
PROFESSIONAL
Can see tomorrow.
HOBBYIST
Is shocked that illicit favors have to be performed to get ahead.
PROFESSIONAL
Would blow anybody to get ahead, of either sex. It’s his one and only life and one and only career, nothing’s going to get in his way.
__
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Highlights From Class Minutes!
- Imagine a giant pot full of water. When it comes to a full boil there are lots of bubbles and steam and mess. When the steam is everywhere and water is spraying…that’s multicam. If you put a lid on the pot halfway, there is still the same bubble, but some of the mess is cut out….that’s single cam. When the lid is on full, and steam only escapes through a tiny hole on top…that’s WEST WING.
- We don’t need to help them see our choices by indicating with our faces. Just think the thought and it will come through.
- High stakes are thoughts with exclamation points; big is just exclamation points. Don’t be big; have high stakes! Have thoughts!
- The amount of time it takes to get to the other side is directly proportional to your willingness to say, “Fuck it.”
- If you don’t do your work daily, you won’t have the muscle memory to do it in performance.
This is Why I’m Crazy
Thursday:
An actor makes a grand total of ONE choice on a FIVE page scene. I bitch and moan for a good thirty minutes about arcs and events, listening and state of being. I say, “You can’t wait ‘til the third page of the scene to get my attention! You can’t just HANG OUT until you find a moment of the scene you LIKE to start acting!!!!”
Friday:
The exact same actor sends me this email: “Could you please refer me to a good boutique theatrical agency?”
Saturday:
I check myself into a sanitarium.
