http://elitecastingnetwork.com/forum/index.php Wed, 30 May 2007 17:10:50 +0000 350 http://elitecastingnetwork.com/img/logo.jpg http://elitecastingnetwork.com/forum/index.php http://elitecastingnetwork.com/forum/index.php?/topic/89049-most-embarrassing-audition-moment/ Wed, 30 May 2007 17:10:50 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/89049-most-embarrassing-audition-moment/ http://elitecastingnetwork.com/forum/index.php?/topic/8362-random-thoughts-on-monologues/ Find material that suits you, i.e. who you are as a person, especially in age range.
HOW? Select from plays you have been in or seen or read, or choose from the wide variety of monologue collections available at most large bookstores. It is best if the monologue is from a play, not written specifically as a part of a collection.
Choose a real monologue, not a scene, taking short monologue sequences that could be combined by eliminating the non-essential dialogue. Edit the piece for clarity, maintaining the who's, what's, and past history.
The opening line should grab the interest of the listener, so don't start with negative energy, don't be vague -- GET THEIR ATTENTION!
No "inner-directed" monologues; use "outer-directed. If you have two, use one of each.

Never exceed two minutes -- the director usually knows withing 20 seconds.
Consider your audience. Err on the conservative side if you are unsure of auditioner. You don't want to risk offending someone.
Avoid excessive physicality. Auditioner should not be distracted from listening.
Seek a character with an active objective. Only use a story if it reveals character, since simple retellings tend to be too inactive.
Seek a character with positive intentions -- despair, loss, sadness are OK as long as the character isn't whining or incessantly complaining. Remember - you are a real person in a real scene. Don't deal with plot complications. Go for big themes.

Implement humor. Find humor even in a sad situation. Humor sells more tickets, however, try to gear your monologue toward the show you're auditioning for.
Make choices in your interpretation that are consistent with the play AND realistic for your ability.

Don't use TV shows or paragraphs from books.
Arrive early, warm up (physically and vocally), and RELAX!
Time yourself regularly in rehearsal.
Leave your belongings in the hall since your entrance BEGINS your audition.
Prepare for your entrance. Know the proper audition procedure. Get into the audition room ahead of time so you know what the facility is.
STAGE the monologue -- use intelligent blocking.
Be positive, pleasant, upbeat. After all, you're helping the director! YOU have something to offer THEM!
NO gimmicky entrances!
Keep a good distance from the auditioners because:
1. It may be uncomfortable for him/her.
2. They can't see all you do.
3. They're NOT in the scene, so don't use them as props.
Separate your audition into "scenes":
Scene One - your entrance
Scene Two - your preparation
Scene Three - your introduction
Scene Four - your monologue
Scene Five - your thank you
Scene Six - your exit

Avoid monolgues that are a recap -- use a discovery or an accomplishment based piece.

Here's a thought -- For your first piece, USE your nervousness. Pick a piece where the character feels
similarly. Then pick a second piece that really showcases what you can do with mood and energy changes.
Never turn more than 45 degrees so that the auditioners can always see your face and hear your voice clearly.

Combine stand up pieces with sit down pieces or even on the floor pieces for variety.
DON'T play to a chair! Create an illusion of another person on stage, but don't use an object to represent that person.

Create the environment. Don't indicate the conditions (like chattering teeth for cold), instead incorporate them. Don't worry about lack of response from the auditioners. It's probably intentional. Don't sabotage yourself by reacting to/ verbalizing about mistakes. And, for heavens sake, DON'T APOLOGIZE!!!

If you lose a line, start over! Don't ask permission, just do it...take control of the situation. Make a strong, swift, confident exit.

Prepare yourself by asking:
Who am I talking to?
What do I want?
What am I responding to? What is my cue? (hear it in your head, then start your speech by responding to that)]]> Sun, 05 Jun 2005 00:01:21 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/8362-random-thoughts-on-monologues/ http://elitecastingnetwork.com/forum/index.php?/topic/8361-random-thoughts-on-auditions/ - selections should not be from show being auditioned for
- 1-2 minutes long

Theatre is not fair:
You must match the character the director has in mind.
Your body is your instrument and may not be what the
director has in mind -- height, weight, vocal range.

Do you have:
Curiosity?
Willingness to learn?
Common sense?
Intelligence?
Imagination?
PREPARATION, PREPARATION, PREPARATION!!!!!
How will the auditioning director answer this question about you?
"Does this person have a realistic concept of who they are?"
Directors WANT you to succeed in an audition.
DON'T perform! DO be honest and sincere in your presentation!
Dress appropriately -- your clothing, hair, and accessories shouldn't draw more attention than your
performance.
Remember -- an audition is an INTERVIEW!
Dress so the director has an odea of your body type -- simple, but not baggy or faddy. No tennies or boots.

If you get called back the next day, wear the same clothing as you did the day before. Make your introduction short and sweet. Don't set up the scene. Say thank you at the end of the audition. When in the auditon venue, don't compalin, gossip, etc., because you never know who may be listening.
NO PROPS! If it's a proppy piece, don't do it. Even too much pantomime, such as telephones or teacups, are not good.
CATTLE CALL - (mass auditions) give your strongest piece first
CALL BACKS - do a contrasting piece
SINGING - no electric components]]> Sat, 04 Jun 2005 23:59:01 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/8361-random-thoughts-on-auditions/ http://elitecastingnetwork.com/forum/index.php?/topic/8359-auditions-tip-sheet/ A. Preparation
1. Select appropriate pieces. They should be contrasting pieces, but not necessarily Shakespeare. Suit
the selections to the types of theatres and productions for which you are auditioning.
2. Choose pieces that are within your character range. Try to stick with pieces that you have done before
and with which you are comfortable. Untried pieces seldom work well. Remember that good dramatic
material can help to sell your skills to prospective employers.
3. Pick a song that fits and shows your range. Don't do overdone selections. Eight bars is sufficient.
Have more ready to go for callbacks.
4.Avoid weird or overdone selections, or selections not easily represented in a short speech.
5. Your selections should be fully memorized. No scripts!
6. Don't have someone come in and read with you. Do a selection that works as a monologue, or patch
together several short speeches which are logically consistent.
7. Time your pieces. Stay within the limit. In general, be too short rather than too long.
8. If you plan to use a tape recording for your musical number, practice with it. It should be of the best
quality you can afford. Know how to work the tape machine. It will be to your advantage to practice with the
equipment.
9. Practice your audition from beginning to end including your introduction. Practice in front of a group of
people to get reactions, and work with a coach.
10. Fill out the audition forms completely, including the important points of your resume. Often that is all
the theatre has to look at until you present your full resume at an interview. Fill in accurate availability dates.
Use a typewriter or print legibly.
11. Try to find out something about the theatres for which you are auditioning.
12. Make your resume as impressive as possible. Look for examples of the professional resume. It
should be one page, neatly typed. Be honest about roles you have played and about your union affiliations.
Have available some references with phone numbers and addresses. Ask those people if they would mind
recommending you. Remember that your resume can help to sell you, once you've left the audition.
13. Get a good night's sleep. That's better than cramming. Get up early to prepare.
14. Be careful what you eat and drink before an audition!
15. Most of all, be positive about the experience. Look on the audition as further experience and as
beneficial in and of itself. And remember that the worst that could happen is that you won't get the job you
already don't have!
B. The Performance
1. Arrive early to warm up and acquaint yourself with the audition area.
2. The right clothing is very important. Visual identification is important to make you stand out. Strong,
solid colors make a statement. Look your best!
a. Women should wear skirts or dresses; if dancers, dance
attire.
b. Juvenile and young leading men should wear dance attire
or simple shirt and pants and/or sweater.
c. Character men should wears a sports jacket and sweater
or suit and tie.
d. Pay attention to your hair. Have an attractive hairdo.
e. Avoid clutter. No coins in pockets or jangling
bracelets or keys.
f. Use basic stage makeup but not too much. Eyes are
important.
g. Wear the right shoes. Clogs are rather noisy! Wear
shoes that help you to move well.
3. Remember that you start your audition from the moment that you enter. Sell yourself from start to finish.
Remember also that in addition to the stage characters you present in your monologues, the other
"character" you'll present is yourself.
4. Clearly state your name and number at the beginning of the audition.
5. You don't need a great deal of introduction. Don't go into the story of the whole play.
6. Try not to take too long to "get into character." You'll go over your time limit.
7. Do your best piece first. Do your song first or second so you are sure to get it in.
8. Try not to make a major production out of costumes or props. You are auditioning, not your special
effects.
9. Don't ask the musician to transpose music. Make it as easy as possible for the accompanist and your
audition will be more successful.
10. Be simple and direct. Don't be static, yet don't block an entire scene.
11. Don't begin by apologizing for you material. It's a bad start.
12. Find your light and take the stage.
13. Keep your volume up.
14. Keep within your time limit. Stop when the time indicates your time is up.
15. Relate to the audience as a group. Don't ignore them. Communicate with them.]]> Sat, 04 Jun 2005 23:56:33 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/8359-auditions-tip-sheet/ http://elitecastingnetwork.com/forum/index.php?/topic/8358-audition-rules/ 2. Be prepared.
3. Be prepared.
4. Be prepared.
5. Don't explain your scene or monologue. JUST DO IT!
6. Make choices. Don't give a neutral reading.
7. Dress appropriately.
8. Assume the auditioners have no imagination.
9. Don't apologize.
10. During the audition, don't use the director/producer as an audience.
11. Focus. Concentrate. Don't wander -- anchor yourself.

In a musical audition:
1. Don't use a taped accompaniment unless required to do so.
2. Don't sing acapella.
3. Don't ask the pianist to transpose.
4. If the pianist is lousy, don't turn around and glare at him/her.
5. Explain the tempo and cuts to the pianist before you start, and make sure the music will easily stay on
the piano.
6. Rock songs don't sound good without rhythm; be cautious when using them.
7. Try not to use the "song of the moment;" it gets old fast.]]> Sat, 04 Jun 2005 23:55:51 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/8358-audition-rules/ http://elitecastingnetwork.com/forum/index.php?/topic/8357-audition-dos-and-donts/ 1. Choose appropriate material. Pieces of extensive anger and/or vulgarity can cause auditioners to tune
out.
2. Time your audition carefully. Timing starts after your introduction.
3. Announce yourself and your piece clearly. If you are a replacement, say your wait list number.
4. Take time to shift focus between pieces.
Audition Don'ts:
1. Don't sing a cappella.
2. Don't use taped accompaniment. An accompanist is provided.
3. Don't sing if you can't. The same applies at the dance audition; it will only hurt your audition.
4. Don't choose a bad script just because it is obscure.
5. Don't choose a bad piece with obscene or offensive language.
6. Don't choose material that berates the audience.
7. Don't use a dialect or an accent.
8. Don't throw chairs onstage.
9. Don't speak to the floor, the chairs, or the sides of the thrust.
10. Don't spend excessive time arranging furniture.
11. Don't treat the timer or the accompanist with disrespect.
12. Don't turn your back to compose yourself or change the mood. It wastes time.
13. Don't rush through it to get it over with.
14. Don't speak so softly that you can't be heard.
15. Don't apologize for your mistakes.
16. Don't leave the stage with a negative feeling.]]> Sat, 04 Jun 2005 23:55:02 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/8357-audition-dos-and-donts/ http://elitecastingnetwork.com/forum/index.php?/topic/8355-escape-from-audition-hell/ worse if you're the only one auditioning.
Nobody has devised a better system for letting directors and producers envision each applicant, one by one,
in the roles to be filled. The only thing wrong with the system is that is relies on human beings -- on actors
trying desperately to embody the director's vision of the part (with no way of knowing what that is), add on
the imagination and patience of the casting committee, who has sat there, probably for days, attempting to
remain impartial, friendly, and awake.
As a professional musical director, I've watched more than one director ignore the perfect-for-the-role
actress, as he unpacks a bag full of delivered Chinese food. Far more often, though, I've seen performers
and roles fail to come together because of poor audition technique. Here are a few observations:
1. The pianist is your friend. The pianist can make or break you; treat that pianist accordingly. Be friendly
and appreciative. BRIEFLY discuss your music. Indicate the tempo you prefer during a quiet, preperformance
meeting; one good way is to softly sing the first line to the pianist. Come prepared with
readable, easy-to-use music whose pages have been taped together. You wouldn't believe the crumbling,
disordered music pianists are handed -- sometimes the music doesn't include a piano part at all.
2. Don't dress the part -- but hint at it. If you audition for FIDDLER ON THE ROOF wearing Russian peasant
rags, you'll be laughed out of the room. Yet wearing clothes and hair that suggest the part can help. If
you're auditioning for an executive in HOW TO SUCCEED IN BUSINESS..., a three-piece suit might be
overdoing it. But a shirt and tie would psychologically suggest the part to the audition committee.
Theoretically, they should be able to imagine that; but in the real world, the less left to the imagination the
better.
3. Eye contact -- Some directors love it; they believe that you are audience tuned, and your direct appeal
satisfies their egos. Others find it annoying and distracting. The safest bet is to make occasional eye
contact, but generally direct you presentation just over their heads.
4. Wierd is good, talent is better. You are aware that the audition committee have seen hundreds of people.
You can tell by the bored expressions, the perfunctory "thank you." You wish you had been the first or last
to audition, since people at either end tend to be remembered better. You decided to make an impression,
no matter what it takes. You can't believe how far some have taken this. Once, an actor came up to the
audition committee's table, took a long swig from the choreographer's Pepsi, and said, "Thanks. Man, was I
thirsty." Another spent his audition muttering to himself. I even saw one young woman audition completely
naked, in hopes of making an impression. (She did. She just didn't get the part.) Strangeness can make
you memorable -- but only if there's talent to back it up. You don't want them just to remember you; you
want them to remember how good you were.
5. Bottom line: It isn't just talent. It's also type. If you didn't get the part, don't be hard on yourself. You may
be terrific. Trouble is, casting people don't just want talent; they want talent in the right package (e.g., hair
color, height, age, body weight, vocal quality). It's not uncommon for somebody with the right body type to
get the part over somebody with more talent.
CURTAINS...See how easy it is? Just be talented, wear the right thing, treat the pianist nicely, make an
impression, use the right amount of eye contact, and, above all, be sure you match the director's unspoken
mental image of the ideal performer's height, weight, hair color, age, and voice. The part will be yours.]]> Sat, 04 Jun 2005 23:52:35 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/8355-escape-from-audition-hell/ http://elitecastingnetwork.com/forum/index.php?/topic/8343-cold-reading/
Cold reading is the art of auditioning with script in hand. Although script sides are supposed to be given to an actor at least 24 hours before the audition, sometimes you won't even see a script until you walk into the audition. This is why cold reading is such an important skill for actors wanting to work in commercials, film, and television.

Learning to Cold Read
Pick up a sample script, or use a newspaper or magazine if you don't have a script. Look at the first line, quickly committing it to memory. Then look up and say the line aloud. Congratulations, you've just done your first cold reading!

At first, you may find it very difficult and may only be able to memorize a few words at a time. But with practice, you'll soon be able to memorize entire lines at a glance. Being an actor is like being an athlete... the more you train, the better you will perform. After you're comfortable doing this by yourself, try it with another actor reading from the same script.

When auditioning, it's very tempting to sneak a look at your next line while the other character is speaking. Resist this temptation. How you listen to the other character is just as important as how you speak your own lines. Wait until it's time for your character to respond, then look to your script for the next line. Memorize as much as you can in a couple seconds, then make eye contact again and say your line in character.

If you have more dialogue than you can memorize in one glance, go ahead and repeat the process. Just keep your face out of the script! Never say your lines while looking at the script. You are acting out the scene like any other audition, only you are taking short pauses to read your lines. So be sure to stay in character even while you're reading your next line.

Cold Reading in an Audition
Even if you don't get your script sides until the moment before you're supposed to audition, try to take the time to read the script entirely through at least once. This way, you'll at least know what the scene is about, who the characters are, and which way the conversation will go. Don't attempt to memorize all the lines, just get a general overview of the scene.

If you have more time with the script, it might be a good idea to memorize your first and last lines. That way you will enter the scene already immersed in the character and leave the same way. With cold reading auditions, the personality of the character is more important than the lines.

Some Tips on Holding the Script
While how you hold the script during a cold reading isn't nearly important as how you portray the character, it can have an effect on how you read the lines and how the Casting Director sees you.

The best way I've found to hold the script is in your off hand (left if you're right handed and vice-versa) at about chest level. If it's too high you'll be hiding your face and if it's too low you'll constantly have to bring it up in order to read it. And because it's in your off hand, you're free to gesture and point as you normally would.

Try to avoid waving the script around or using it as a prop. You don't have to pretend it doesn't exist, just try to think of it as a natural extension of your body. The less attention you draw to the fact you have a script in your hand, the better.

In Closing
A cold reading audition naturally goes much slower and feels more awkward than a normal scene. Don't worry about it. The Casting Director doesn't expect you to know the lines... she just wants to see what kind of personality you bring to the character.

You may be the greatest actor in the world, but without at least some proficiency in the art of cold reading, you'll never get past your first film audition. So include it in your training and you'll be able to improve your auditions and start booking jobs in no time!]]> Sat, 04 Jun 2005 23:38:04 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/8343-cold-reading/ http://elitecastingnetwork.com/forum/index.php?/topic/8342-audition-basics/
Getting the Audition
For most roles, you (or your agent) must submit a photo and resume to whoever is casting the production. Occasionally, you may hear about an "open call" where anyone may come to audition. These types of auditions are often called "cattle calls" because hundreds of people show up and are quickly herded through. However, most auditions are invitation only.

If you are called for an audition, you will often receive "sides", which are simply a few pages of the script that you will be expected to read. In theater, you may also or instead be expected to have a monologue and/or musical number prepared. In either case, once you have a script in hand it's time to get down to business.

Preparing for the Part
Read the script. Study it. Find every single detail about the character you will be auditioning for. Lines aren't important yet... just focus on who the character is. How old is she? Where is she from? How does she feel about the other characters in the story?

After you know everything there is to know about the character, then it's time to learn your lines. Use whatever technique works best for you. Although you shouldn't be expected to know all your lines at the audition, it's better to be safe than sorry.

Before the Audition
When dressing for an audition, it's best to dress according to the type of character you're trying out for. For example, if auditioning for the role of a cowboy, you wouldn't want to wear a business suit or old shorts and a sweatshirt. On the other hand, you don't have to go out and rent chaps and spurs. Just dress to imply the part, perhaps in casual jeans and boots.

You should warm up for an audition just as an athlete warms up for competition. Do a few stretches and vocal exercises, and take one more chance to go over your lines. Then relax. It's very easy to get overly nervous before an audition, and that nervousness will show.

After you arrive at the audition and sign in, you'll probably have time to wait for a few minutes until it is your turn to read. There will be other actors waiting with you, but it's best to avoid the temptation to talk and gossip with them. Stay focused... you can always socialize later.

Reading for the Casting Director
The Casting Director is the person who you will most likely be auditioning for. Depending on how busy he or she is, the CD may take a few minutes to talk with you or may just say "hello" and ask you to begin.

Now's your chance to shine. Forget that it's an audition and do the scene as you would in the actual production. Keep your energy up and make it clear that you are this character. And remember that the Casting Director is not your enemy. They want you to be the best person for the role because it means that their job is done.

Here are a few things to avoid when performing for or speaking with the Casting Director.

* Don't suck up. CDs appreciate compliments as much as anyone, but they'll know when you're just kissing butt and will probably be very annoyed by it.
* Never touch the Casting Director. Aside from a friendly handshake, it's best to avoid physical contact. If the scene calls for you to kiss or hit someone, just mime it.
* Don't wreck the office. As stupid as it sounds, some overzealous actors will throw or break things during a scene. If you do this, the CD will remember your performance, but not in a good way.

After you finish your reading, the Casting Director will thank you and maybe give a couple comments. Then it's time to move on. Don't waste time worrying or criticizing your own performance. Just look forward to the next one...

Callbacks
If the Casting Director likes your performance, you will be given another audition, a "callback". at this audition, there will be fewer actors trying for the role. There will also probably be more people there to see your performance, usually the Director of the production and possibly Producers, Writers, or studio executives.

You should wear the same clothing to the callback as you did to the first audition. Also, you should try to do the exact same performance as you did the first time. Whatever you did, the CD liked it. Don't blow your chances by second guessing yourself and trying something completely different.

However, even if everyone loves your reading, they may ask you to "try it another way". This doesn't mean that they didn't like your performance. They just need to see how well you can take direction.

Treat a callback like any other audition. Do your best, then go home and forget about it. Either you'll get the job, you'll get another callback, or they will go with someone else.

Keep Records
Whether or not you get the part, or even a callback, keep a record of when and where you went to the audition, the Casting Director's name, what you wore, and any other information that may be important.]]> Sat, 04 Jun 2005 23:37:33 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/8342-audition-basics/ http://elitecastingnetwork.com/forum/index.php?/topic/8341-coping-with-audition-nerves/
The first step is to realize that the folks in the audition room want you to be good. If they can find the perfect actor for each role, they've done their job well. So your job is to open up and let your best self come out.

I know this is extremely tough in a situation where you feel like you're being judged. It can help if you think of your audition as a mini-performance-as if the casting person(s) are the audience, looking forward to being entertained, and you are the same actor you are when you've rehearsed a role enough to feel totally confident when you get up on the stage and perform it. This way, you're there to share yourself and your talents and skills with the audience, instead of feeling like you're being judged by those who are casting. Think about what it is that makes you love to perform, and use that feeling in your audition.

The second step, which you have to take actually prior to the audition, is that of being totally confident about your presentation, from the moment you walk in the door and introduce yourself to the moment you say "thank you" or "Have a great day" and walk out the door. Know what kind of impression you want to create-and here, I'm not suggesting you put on a false front, just choose what you feel are the best aspects of yourself to present. And KNOW YOUR MONOLOGUE-the best monologues are those you've loved from the beginning, and have worked on over and over until they're almost second nature. When you know a monologue this well, you'll be discovering new things every time you do it, and this keeps your focus on enjoying your performance, even in an audition. If you pick a new monologue and audition with it the next week, of course you're going to be nervous, because there's too much to think about: lines, beats, character, other characters, feelings, etc. Knowing your monologue well allows you to take a deep breath and tell yourself, "I know this-I've done it hundreds of times. It's not such a big deal." A monologue you know this well feels like your favorite old T-shirt that you love to put on.

If you can make a habit every day of practicing relaxation exercises such as stretching, deep breathing, meditation or visualization, this will help your audition nerves as well.

And finally, remember that you can do an incredible audition, and still not get the role for one reason or another. That's a fact of the business. Maybe you didn't look like part of the family they were casting for a film. Or maybe the producer's brother had his eye on the role you wanted, and, well, he's the producer's brother. You may never know why you didn't get the role, but you always have to believe that you're good enough to play the role, that you would have done a great job. If you dwell on your audition and always tell yourself you're not good enough, this prophecy will probably fulfill itself.

Let the audition go, the same way you let a performance go after it's done, and look forward to the next one. Believe in yourself, that you have what it takes-and let that show through in your audition. Break a Leg!]]> Sat, 04 Jun 2005 23:37:05 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/8341-coping-with-audition-nerves/ http://elitecastingnetwork.com/forum/index.php?/topic/497-guide-lines-to-follow-when-you-audition/ 2. Arrive thirty minutes prior to the audition time; this will allow ample time to check in and warm up, check out your competition.
3. Bring at least 2 photos and resumes. Photos should reflect current physical likeness (should always be updated!)
4. Do not chew gum ( all directors hate it)
5. When attending callbacks, always wear the same attire worn at audition. Try to do everything you did the first time because it has already worked during the first audition.
6. Be confident, smile, always have a positive attitude
7. Act excited about everything you asked to do

Actors/Improvisation:
Be prepared for improvisation.
Different voices and dialects are a plus.
Prepare a dramatic and comedic monologue no more than 2 minutes in length.
Note if the audition is going to provide sides.]]> Thu, 26 Sep 2002 07:38:02 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/497-guide-lines-to-follow-when-you-audition/ http://elitecastingnetwork.com/forum/index.php?/topic/469-be-prepared-for-surprises-at-auditions/
Let’s say you show up at an audition. You are looking for sides, but you don’t see any. When it is your turn, you are called into a room asked to slate your name for the camera and told to eat a piece o fruit. Don’t get a look on your face that says, "What in the hell is this about?" Unless you sense that there is something "shady" about the audition, embrace the idea with enthusiasm. Say, "sure" and go to it. You never know for sure why you are being asked to eat a piece of fruit, but here are some of the typical reasons:

To see how spontaneous you can be.
To see if you can appear to really enjoy something
To see if you will take direction well and run with it
You can never be sure what the reason is, but your concern should be giving the best performance that you can. Remember that each audition is a very short performance and you must make every moment count. Use this time to convince the casting director that you are the one for the job.

You may show up at an audition that ends up being an improvisation. A number of actors may be called into a room and told. "You are the father, you are the mother, and you are the son. Your son is sick, mom is on the phone talking with the doctor and dad is trying to make the son feel better." What makes this interesting is that the son is really a 5-year-old who has never met you before this audition. The mom can probably handle the phone call, but the dad doesn’t want to freak the son out. Most child actors are good about this, but some may not want you to get to close to them. If this happens, the casting folks will understand, so just do what you think will work. Remember that the camera or the other people in the room are not there and they will let you know when to stop or if they would like you to do something else.

It is ok to ask questions, but if you already know what they want, it is best to get started without lots of questions. This could be seen as you not taking direction well. However, if things really haven’t been explained well and you don’t really know what is expected of you, you should ask that things be clarified. Make it short and to the point because time is always an issue.

If you think that an entry on your resume will never be questioned, think again. This is one of those things that can really throw you. It is not common, but it does happen and it is a very uncomfortable feeling. You should be aware that some things may occur that aren’t really about the audition and you must be prepared.

Here you are ready to show the director or casting agent what you can do and the first thing that the director says after looking at your resume is, "So, how was it working on the "x" project?" This can be a trick question. The director may simply be interested because the "x" project appears to be interesting simply based on the description. It may also be that the director doesn’t believe, for whatever reason, that you actually worked on the "x" project; either way, be on your toes. You work on so many projects as a performer that things can become a big blur. You should take a look at your resume from time to time because you may forget the details of something that you did a while ago. You may be viewed as a liar, depending upon how comfortably you answer a question like this.

There are also auditions that call for the deepest kind of concentration because you must take direction, while improvising, while staying in character. Picture yourself walking into a room with four other actors. You are then told that you are in a park and you have happened upon a dead animal, but there is no script. You make it up as you go along but the entire scene should be no more than 3 minutes. Well, if you are familiar with improvisation, you may think that this will be a piece of cake. The real concentration comes when the director begins telling you what to do right in the middle of your improvisation.

She/he may ask questions like:

What kind of animal is it?
How was it killed
Is it wild or someone’s pet?
The questions are not as important as it is for you to remain focused. You must keep the scene moving along naturally, not rely on the director to tell you each move to make or line to deliver, and through it all you must remain in character. When working on a scene like this, it is easy to become so focused that you don’t hear things outside of the scene. If you do hear things outside of the scene, they may not come through all that clearly so try to stay in the scene but also listen for direction from the director.

There are even auditions where there is no dialogue and no fruit. The job may simply require "MOS" or motion on screen. This is one of those situations where you see performers going through the motions and a narrator does the voice-over explaining what is on sale or why you should choose this healthcare organization. For this type of job, the audition may amount to no more than a "go see". Sometimes the director has already decided from headshots and resumes who is right for the role. The whole audition or "go see" is simply to take a look at everyone being considered in person and making the final decisions.

This can be the most uncomfortable of them all. You may leave this audition feeling like a "pawn in chess game you have no control over". Let’s face it ladies and gentlemen; you are the product and the sooner you realize this, the better off you will be because this "go see" could go a little something like this: The director says, "Look at the camera and slate your name please. Turn left. Turn right. Thank you. Next person." At the end of this, you may feel like a "helpless pawn", if you don’t view yourself as a product. You will leave with a longing for information. What were they looking for? Where you the right type and did you wear the right clothing? Why didn’t they ask you anything and should you have volunteered the fact that you just landed a great role in a major production? Let it go! The fact is they know what they want and when they see it, that’s it. If you get the gig, great! If not, chalk it up as an opportunity to gain more experience auditioning.

I cannot say to you enough, that you should simply be ready to roll with whatever comes your way at an audition; no matter where it comes from to who is throwing it at you. You are a performer and how you come through in these varied situations will ultimately decide how much real performing you do. There is, of course a lot of weight put on what "type" the director is looking for, which means it’s not based totally on your abilities, but you must be able to get through the audition process with flying colors.]]> Thu, 26 Sep 2002 06:56:46 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/469-be-prepared-for-surprises-at-auditions/ http://elitecastingnetwork.com/forum/index.php?/topic/411-what-you-need-to-know-about-on-camera-auditions/ ressions and if you still aren’t sure… just ask.]]> Thu, 26 Sep 2002 05:51:52 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/411-what-you-need-to-know-about-on-camera-auditions/ http://elitecastingnetwork.com/forum/index.php?/topic/371-how-to-decide-on-wardrobe-for-an-audition/
If you see a casting notice for a businessperson and you decide to wear a suit to the audition, that seems to make sense. However, you may be a little overdressed if the person doing the casting has a view of khakis and a button-down oxford as being business dress. Some casting notices will be really specific and say, "upscale business" or "business casual," but don’t think that is a true cure for this problem. What is your perception of business casual? Trust me, there is always the possibility that it may be completely different from the perception of the casting agent.

What you wear can have a great impact on the outcome of an audition. This is true for many different reasons. In places like New York and Los Angeles where the atmosphere is much more laid back, dress doesn’t seem to be as much of a concern at casting calls. There are, of course, the jobs where dress is everything, even in LA and NY. For the most part they are interested in what you look like, how you deliver the lines and your actions. In the Mid-Atlantic region, dress is sometimes more of an issue because lots of the work is corporate and that is what they want at the audition.

So how do you know what to wear at an audition? You can never be sure, but there are some things that usually help. You should always ask your agent what wardrobe is appropriate. When you know the agent well enough, all he/she will have to tell you is that the look is "business or casual or quirky" and you will know what they mean. If still you aren’t sure about the wardrobe, ask questions because, for example, a "quirky" look to one person means a "little rough around the edges" but to another person it means "nerdy". You want to be sure that you have the right look in mind. Unfortunately, those same things can also hurt you sometimes. You will at some point in your career have an agent tell you to dress corporate and arrive at the audition to see everybody in jeans and sneakers. I am not sure how it happens, but it does happen.

Finally, being different is sometimes a good thing. Have you ever noticed that certain actor who always shows up in jeans, a T-shirt and sneakers? Ever notice how she/he is always working? Well there are a couple of possibilities here:

The actor is talented beyond belief so wardrobe doesn’t matter at the audition.
The fact that he/she doesn’t look like everyone else makes him or her stand out and be remembered.
The fact that he/she doesn’t look like everyone else helps to round out the cast.
The fact that she/he is very well connected and is going to get the role because of the connections.
You might consider dressing the part, with a little twist for individuality. It is not a pageant, but if you can do something in addition to your performance to help the casting agent, producer, director remember you, it can help. They will often times record the auditions and look back at them, but when it comes down to decision time, any edge you have can make all the difference in the world.]]> Thu, 26 Sep 2002 05:23:13 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/371-how-to-decide-on-wardrobe-for-an-audition/ http://elitecastingnetwork.com/forum/index.php?/topic/360-how-to-prepare-for-an-audition/
First, preparation begins long before you get the call for the audition. You don’t wait until you have a time and location for an audition to begin to prepare. You can fine tune for the audition once you know what to expect, but there is no way that you can properly prepare if you just sit around and wait for something to fall into your lap.

Stop for a moment and think about what it is that you really want to do. Then figure out what needs to go into it. It is important to know that what you put in is what you will get out. You should begin to take good care of your instrument…your body and mind that is. You should watch what you eat, get some form of exercise and pay attention to everything around you. The more you watch people the more you will have a surface idea of how a particular character might dress, act, talk or walk. All these are qualities that help give a character credibility.

In life we have a limited amount of experiences. This limitation may keep us from bringing a character to life. If we draw on our own experiences along with the experiences of the people around us, on television, in the movies theater, the barber shop, the supermarket and on and on, it will help to prepare us for an audition. This is especially true if the character is nothing like you and you have nothing to draw from.

One of the other things that is paramount to a good audition is to relax. If you are not comfortable during your audition, chances are it will show. If nothing else, it will hamper your ability to do what you do best. If you are trying to control your anxiety, you can’t fully focus on the task at hand.

The best way to learn to relax is to prepare. If you walk into an audition and you know that you are truly as prepared as you can possibly be, there isn’t nearly as much anxiety. You know that you are ready to do the absolute best job with the information that you have. By the way, without taking too much time of the agents time, get as much information about the audition from the agent as possible.

Who is the character that you are reading for and are sides (i.e. part of the auditions script) available ahead of time? Where is the audition, directions, time, etc? The more information you have that is concrete, the more certainty surrounds the audition. The only thing left to chance is whom the casting director ultimately decides to go with. This is the only thing that you don’t have control over. However, you can have a great deal of influence.

Since you do have control over preparing for the role, what you will wear to the audition and how comfortable you are, these are the things that you should focus on. Make sure that you give the best performance that you are capable of. If you do this, you can leave the audition content knowing that you did all that you could do to land the job. After that, it is up to the powers that be and out of your hands.

Having this attitude is also part of the process of preparing for an audition. Let me explain. If you condition yourself to believe that once you do everything that you can to land a role there is nothing else to worry about. That attitude alone will help you to relax because you will not go on the audition with "making sure you book the gig" the primary thing on your mind. Instead, you will go to each audition with "giving the best performance" the primary thing on your mind. This thinking will definitely change your focus and allow you to be that much more relaxed.

We’ll talk about some of the technical preparation that you can do to help with the audition process in the very next issue. When this series is all said and done, you should be able to walk into an audition with confidence, give an excellent performance and leave knowing that you have done everything that you could. Study the information in this issue so that you will be able to add it to the information in the next issue. By connecting the dots, you are going to be prepared to handle the audition process like a champ.

Let’s talk about some simple techniques that can make your audition the kind that lands you the job. Because this is such a competitive business, every little thing that you can do to have an edge is very important. Focusing on the competition can be detrimental to your audition, so try to focus on your performance and you will have won half the battle already. Lots of people go into auditions worrying about whom they are up against and what the other people are wearing, etc. Do your best to know what you should be wearing before you arrive and realize that you have to make the best of it when you arrive.

Occasionally, you will get the wrong information about an audition and show up dressed completely wrong. In this instance, make any adjustments that you can and don’t sweat the rest. For instance, if you wore a suit and tie but find out at the audition that the character is at home on a Saturday afternoon, lose the jacket and tie. Open a couple of buttons on the shirt and roll up the sleeves.

You might keep a spare tie and sport coat in the car. Make sure that the colors are neutral so that they will look half-decent if you need to use them in a pinch. You can find yourself really needing to improvise at an audition and any little extras that you can keep on hand to facilitate a successful audition will make you feel that much more confident. Let’s get into some technique that will surely help you to deliver your best performance at any audition.

If you are a beginner, you may be thrown by something as simple as being asked to slate to camera and then begin. What this means is that you look into the camera and say your name. This is probably the only time that you will look into the camera during the audition. If you are instructed to look into or perform to the camera, of course follow instructions.

When you start your audition, be prepared to bring everything (physically and emotionally) "to the table" that may be needed to get the part. What is meant here is that you will probably not have a "real" actor reading with you to bounce off of emotionally, so you will have to reply on yourself. Often times, it is an assistant sitting somewhere near the camera and they may not give you any emotion at all in their read with you. You must be prepared to give the emotion and drama or comedic timing regardless of your partner’s ability.

It is important in any audition that your face be seen. They want to see what you look like on camera including any facial expressions that help to bring your character to life or be more believable. This is where technique comes into play. Never hold the script (a.k.a. "sides") up so high that it covers your face. As a matter of fact, the paper should never be any higher than chest level, but the lower the better. Practice reading from a script at home so that you become comfortable reading and actually performing with the paper. The idea is to become so comfortable that the rest of you operates as if you don’t even have a script in your hand. You should operate in such a way that you call no attention to the script in your hand.

If you want to have a successful audition, learn to look at an entire line of the script at once. If you can become slightly familiar with the script and look down at an entire sentence at once, you can look up and deliver most of the line without looking at the paper. This allows you to show your emotion clearly through facial expressions. Also, look down at the paper with your eyes and not your entire head. Your eyes should move from the paper and back leaving your head in the same position throughout the audition.

While these things seem simple and actually are, they really go a long way toward making your performance stand out among the many competitors. The only way that these tips will work for you is if you work on them. The techniques are simple, but they must be practiced until they become second nature. When you can incorporate all these things and others to be featured in the next issue into your audition, you will begin to see and reap the benefits.

Auditioning is an art form. Remember that under most circumstances it is a mini performance with only a few minutes to rehearse. This is why you should audition as much as you can. Some actors don’t audition for a job if there is a possibility that they won’t be available for the job. This is fine and works for some, if not most. You should not audition for something if you know concretely that you will not be able to do the job if chosen. This can make you and your agent look bad. If your agent and you were told ahead of time what the shoot day is, you audition, the client chooses you and is told that you aren’t available for the job, that is not a good thing. However, if you or your agent haven’t been given a shoot date and you aren’t busy on the day of the audition…go.

You may land the job. If you don’t land the job the client and or casting director will have seen your work. You may be called in for another audition based on the previous audition. At the very least, you will have another chance to learn and to sharpen your skill. You will go to many auditions and every so often, something will happen that is different than anything you have ever experienced at an audition before. It may throw you the first time, but you will know how to handle that situation if it ever happens again.

In the previous issue, we talked about putting all the techniques together. This is when you can really shine. There are lots of good actors out there, but there are very few that are good at everything. Generally you will find that even a good actor will have an area where he/she could use some work. It may not stop them from landing the part, but if you are strong across the board, you may be able to book the job yourself.

As far as technique is concerned, the things mentioned in the previous issue will not be learned through osmosis. You can’t place a copy of this newsletter under your pillow and get up the next morning better prepared for your next audition. That would be very nice, but it just doesn’t work that way. Think long and hard about being in this line of work because there are certain things that you must to do to succeed. If you want to succeed you must master the art of auditioning. You must be able to impress the client and casting director whether you actually get the job or not.

You must be confident and you don’t get confidence without know that you can do something. That is what confidence is: knowing that you can do it and do it well. How can you possibly know beyond a doubt that you can do it, if you haven’t done it many times before? You can’t. You can try to do something, but if you have not done it many times before, it is simply a guess at how it should be done. Though luck helps, great careers are built on more than a guess. The guess might get you a break, but you had better have the talent and the know how to back it up. If you don’t, you will simply be a flash in the pan.

Keep your mind, body and soul fine tuned. You must use it each and every time that you audition. It you treat your body properly, it will cooperate with and help you accomplish your goals. Try to get proper rest the night before an audition so that you will look your best and be mentally sharp. Get some form of exercise to keep your self looking and feeling good. If you are comfortable with your body, you will be free to do whatever is needed to have a good audition.

That is really what it’s all about. Having a good audition. It is not so much whether or not you get the part, but whether or not you have a good audition. If you constantly prepare and have really good auditions, from time to time you are bound to book a job. Focus on the audition and the job will come. Focus on the job and you may blow the audition. Study, study and then study some more. Then and only then will you be on your way to becoming the actor that you can be.]]> Thu, 26 Sep 2002 05:17:08 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/360-how-to-prepare-for-an-audition/ http://elitecastingnetwork.com/forum/index.php?/topic/285-what-to-wear-for-film-auditions/
Avoid solid whites, very bright colors, and busy patterns.

Jeans are a gamble. Wear them only if they are clean and if they are appropriate for the role. Some casting directors don't like jeans and others don't mind. You have to decide if you are willing to take that chance with your first impression.

Wear nice, clean, casual clothes in solid pastels or neutral colors. The should be comfortable enough to allow you to move without feeling constrained. The fit and colors should flatter your skin and body.

Dressing for the part is risky, you may end up looking out of place. Ask your agent if the client specified what they want you to wear. If you are auditioning for the part of a doctor, wear something loose and casual. If you are auditioning for a sexy character/role, wear something classy that flatters your figure. If you do not feel comfortable in the clothing, it will show.]]> Wed, 25 Sep 2002 06:48:22 +0000 http://elitecastingnetwork.com/forum/index.php?/topic/285-what-to-wear-for-film-auditions/