First of all, there's the article from the NYTimes about what it's like to audition for Saturday Night Live, in front of Lorne Michaels. It's in that multiple voice interview style and has voices from throughout the series (Chevy Chase through Dana Carvey, then Molly Shannon, Jimmy Fallon and even current cast folks). There are links to extended interviews with a few folks, and within all of that, there's footage of Kristin Wiig at the Groundlings, and the original auditions of Dana Carvey, Will Farrell, and Jimmy Fallon. There's also a video interview with Fred Armisen. It's a really eye-opener to how comedy looks easy but comes with so much anxiety, and the silence in the videos is excruciating. Worth checking out.
Vegan side note: if you like eating veggies and even if you don't, you gotta get on Thug Kitchen. Completely NSFW - lots of foul language and f-bombs, but great recipes and ideas for eating healthy food made from plants, and lots of capping on snack food companies.
Had a big audition last week. Because there's nothing concrete to remember these accomplishment/milestone moments, I like to reward myself with objects that help me remember these successes. In this case, it was a trip to the Muji store in SOMA where I found these socks. Which are awesome. What can I say, sometimes it's the little things.
I believe I've mentioned the Geena Davis Institute for Gender Representation in Media at USC's Annenberg School of Journalism, yes? A new report from them on gender inequality in the top 500 films from 2007-2012 tells it like it is.
And finally, this woman just rocks my world with her talent, originality, creativity and refusal to let others shape her image and message. Here's something from the album that comes out next week, and here's something I just found on youtube this week: her first studio album, unreleased. The track that starts at 1:43 may be my new 'I just auditioned and now I'm done' celebration.
Showing posts with label auditions. Show all posts
Showing posts with label auditions. Show all posts
Thursday, September 5, 2013
Wednesday, June 5, 2013
Actor Etiquette Soapbox or A Short Rant
Dear actor friends, aspiring actors, anyone who wears the actor hat who may read this post - having been on the asking people to do stuff side lately and watching friends move into the producing/asking people to do stuff side, I feel I have to stand up and say this:
If you are asked via email or phone message to do something acting related - anything from an audition to a reading to a role itself, even if this request comes out of the blue, from someone you've never heard of, even if you're not available or interested in the thing you're being asked to do, email or return the call WITHIN 24 HOURS.
Even if it's just to say 'I saw your message and I don't have an answer for you yet'
Why? Because someone, somewhere, is doing some hard work, looking up contact information, asking for referrals and generally sweating because they need people in order to make a creative project move forward and they don't have enough of the kind of people that they need. And, in the middle of that sweating and hard work, someone THOUGHT OF YOU.
This thought, my friends, deserves to be acknowledged. And acknowledged in a way that the person who reached out is aware of - so not just reading or listening and then deleting, but RESPONDING. With thanks. With recognition of effort. With 'here's some other people instead of me'. With grace. And, above all, IN A TIMELY FASHION WITHIN 24 HOURS of the initial message.
Maybe your life is crazy hectic. Maybe you're dashing between jobs and classes and auditions. It takes just 5 minutes to triage your inboxes and note if anyone is asking if you would like to spend some time doing this thing that you love doing. And maybe 5-10 more minutes to say yes or no or 'I need some more time to think about this, what is your deadline for decisions.'
And it's fine to say you're not available or not interested. It's way better than silence. Thank them for thinking of you, for reaching out, and move on.
Stepping down.
Regularly scheduled gender parity posts, random book reviews, and other actor daily life musings back atcha soon.
If you are asked via email or phone message to do something acting related - anything from an audition to a reading to a role itself, even if this request comes out of the blue, from someone you've never heard of, even if you're not available or interested in the thing you're being asked to do, email or return the call WITHIN 24 HOURS.
Even if it's just to say 'I saw your message and I don't have an answer for you yet'
Why? Because someone, somewhere, is doing some hard work, looking up contact information, asking for referrals and generally sweating because they need people in order to make a creative project move forward and they don't have enough of the kind of people that they need. And, in the middle of that sweating and hard work, someone THOUGHT OF YOU.
This thought, my friends, deserves to be acknowledged. And acknowledged in a way that the person who reached out is aware of - so not just reading or listening and then deleting, but RESPONDING. With thanks. With recognition of effort. With 'here's some other people instead of me'. With grace. And, above all, IN A TIMELY FASHION WITHIN 24 HOURS of the initial message.
Maybe your life is crazy hectic. Maybe you're dashing between jobs and classes and auditions. It takes just 5 minutes to triage your inboxes and note if anyone is asking if you would like to spend some time doing this thing that you love doing. And maybe 5-10 more minutes to say yes or no or 'I need some more time to think about this, what is your deadline for decisions.'
And it's fine to say you're not available or not interested. It's way better than silence. Thank them for thinking of you, for reaching out, and move on.
Stepping down.
Regularly scheduled gender parity posts, random book reviews, and other actor daily life musings back atcha soon.
Wednesday, May 8, 2013
Thinking about auditions again
I've got my own kaizen going around auditions. It's yet another way that I stay conscious about what aspects of an audition I have control over and which ones I don't.
And I really am digging this recent improvement to my audition routines: the night before, I make a timetable. I start with the time I'm scheduled, and then work backwards.
 |
| Here's a recent timetable! |
It keeps me from stressing when I'm getting ready (what time did I need to get on BART again?), makes sure I don't forget anything, and makes sure that I'm doing productive things to get ready (like a vocal warmup) instead of getting stuck on the social medias. Because I do it the night before it also means that I sleep better. Timetables are definitely a keeper. For now anyway...
Monday, March 4, 2013
Hand Model Adventures
Out there at the end of my slashes - actor/teaching artist/voiceover/on-camera/hand model - is the one that provokes a lot of giggles. At least for me anyway.
I'm a hand model.
Genetics plays into this tremendously. I've got long thin fingers, strong fingernails that don't break, and that are so white at the tips, that manicurists have thought I was already seen by someone else who gave me a french manicure.
Hustle plays into this too. Before I had a hand modeling portfolio, I had a 3 quarter headshot with my hands in frame. This photo was enough to book me my first hand modeling job - which was for an instruction manual for a medical device that was kind of like an asthma inhaler, but had these removable parts that needed to be cleaned in a very specific way. I found that job on Craigslist, and I made sure I kept the photographer's contact info so that I could get a copy of the finished product.
I used those photos to start a 'portfolio' and booked another hand modeling job, also from Craigslist. This time, my hands stood in for the hands of some fictive super hero character, and I pointed at the 2 DVD's you'd get for free if you bought a certain video game. Again, I made sure I got copy.
Around this time, I signed with an agency in San Francisco. Although I initially went in for their on-camera and voiceover divisions, I let the print division know that I'd done what I've learned is called 'parts modeling' and gave them the photos I'd collected so far.
After taking a look at other peoples' portfolios on my agent's website, I realized that I could ask a photographer friend to shoot some additional photos and round out my portfolio. I brought some props - a camera, a bowl of fruit, a notebook and pen, and we took some additional shots of my hands holding things.
Throughout this time, I've got on auditions/modeling calls for my hands. The basic formula of these calls goes like this: show up in the right place at the right time, hold something, someone takes some photos of it. Sometimes, there's video involved. For one audition, I was shown how to work a fancy-schmancy juicer and filmed doing that. Doing hand model auditions has really helped me get over a lot of audition baggage. You either book it or you don't. There's not a lot involved beyond that for the auditioner. It's entirely about the client making a choice between the available options.
When I book hand model work and I'm not the only talent for the project, it's always a weird experience. For most of the people on site, I don't look like the talent (who are in wardrobe and makeup), and I'm not crew because those folks have all been there for hours. Someone will inevitably want to introduce themselves and reach for my hand, and I usually can't shake because I've got makeup on. "I'm the hand model" I say, and hold up my hands for them to look at. "Oh, right" is the typical response, and they've get a satisfied look on their faces because they've figured it all out.
A few other goofy hand model things: since hand modeling is rather far down my list of slashes, I'm not in elbow length gloves all the time, like this woman is. But I do think about sunscreen and hand tan lines, use a fairly high end hand cream on a regular basis, and wear gloves when I ride my bike. When I schedule a job, I usually don't do any dishes for the few days before I do it, and get really paranoid about cooking burns and paper cuts.
On the day of the booking, I spend as much time as possible with my forearms vertical, elbows down, hands up, to minimize the size of the veins in the back of my hands. This used to mean funny looks on public transit as I sat like a surgeon about to go into the OR, until I realized I could just stand and hold the rail or strap.
In the end though, I get paid for the work I do, and getting paid for a few hours of holding things while someone shoots photos or video keeps the roof over my head and food on the table so that I can take on the acting projects that may not compensate me as well financially, but feed me artistically.
I'm a hand model.
Genetics plays into this tremendously. I've got long thin fingers, strong fingernails that don't break, and that are so white at the tips, that manicurists have thought I was already seen by someone else who gave me a french manicure.
I used those photos to start a 'portfolio' and booked another hand modeling job, also from Craigslist. This time, my hands stood in for the hands of some fictive super hero character, and I pointed at the 2 DVD's you'd get for free if you bought a certain video game. Again, I made sure I got copy.
Around this time, I signed with an agency in San Francisco. Although I initially went in for their on-camera and voiceover divisions, I let the print division know that I'd done what I've learned is called 'parts modeling' and gave them the photos I'd collected so far.
After taking a look at other peoples' portfolios on my agent's website, I realized that I could ask a photographer friend to shoot some additional photos and round out my portfolio. I brought some props - a camera, a bowl of fruit, a notebook and pen, and we took some additional shots of my hands holding things.
Throughout this time, I've got on auditions/modeling calls for my hands. The basic formula of these calls goes like this: show up in the right place at the right time, hold something, someone takes some photos of it. Sometimes, there's video involved. For one audition, I was shown how to work a fancy-schmancy juicer and filmed doing that. Doing hand model auditions has really helped me get over a lot of audition baggage. You either book it or you don't. There's not a lot involved beyond that for the auditioner. It's entirely about the client making a choice between the available options.
When I book hand model work and I'm not the only talent for the project, it's always a weird experience. For most of the people on site, I don't look like the talent (who are in wardrobe and makeup), and I'm not crew because those folks have all been there for hours. Someone will inevitably want to introduce themselves and reach for my hand, and I usually can't shake because I've got makeup on. "I'm the hand model" I say, and hold up my hands for them to look at. "Oh, right" is the typical response, and they've get a satisfied look on their faces because they've figured it all out.
A few other goofy hand model things: since hand modeling is rather far down my list of slashes, I'm not in elbow length gloves all the time, like this woman is. But I do think about sunscreen and hand tan lines, use a fairly high end hand cream on a regular basis, and wear gloves when I ride my bike. When I schedule a job, I usually don't do any dishes for the few days before I do it, and get really paranoid about cooking burns and paper cuts.
On the day of the booking, I spend as much time as possible with my forearms vertical, elbows down, hands up, to minimize the size of the veins in the back of my hands. This used to mean funny looks on public transit as I sat like a surgeon about to go into the OR, until I realized I could just stand and hold the rail or strap.
In the end though, I get paid for the work I do, and getting paid for a few hours of holding things while someone shoots photos or video keeps the roof over my head and food on the table so that I can take on the acting projects that may not compensate me as well financially, but feed me artistically.
Thursday, December 6, 2012
December Slumps
I could be seriously worried right now. Compared to earlier this year when it seemed like my agent was sending me out every few days, I've barely heard anything (other than those weird beating the bushes kinds of calls where they need twin native Tagalog speakers or real-life professional chefs who also have rare skin diseases).
I could be freaking out - have they forgotten me? Did someone say something and they've decided they're going to drop me and haven't told me?
I'm not worried and I'm not riding any emotional roller coasters. Thanks to my audition tracking spreadsheet. Since I've tracked auditions in a spreadsheet for a few years now, I'm at the point where I can see trends in the audition calendar - and, it turns out that for every year I've tracked December is just a slow month when it comes to auditions. So I'm fine - it's the calendar, not me.
I'm using these quiet weeks to work audition pieces, look at the bigger picture and think about what I'd like to accomplish in 2013. Because if it's anything like the last few years have been, January is going to get really busy!
I could be freaking out - have they forgotten me? Did someone say something and they've decided they're going to drop me and haven't told me?
I'm not worried and I'm not riding any emotional roller coasters. Thanks to my audition tracking spreadsheet. Since I've tracked auditions in a spreadsheet for a few years now, I'm at the point where I can see trends in the audition calendar - and, it turns out that for every year I've tracked December is just a slow month when it comes to auditions. So I'm fine - it's the calendar, not me.
I'm using these quiet weeks to work audition pieces, look at the bigger picture and think about what I'd like to accomplish in 2013. Because if it's anything like the last few years have been, January is going to get really busy!
Thursday, October 25, 2012
Batting Average
A lot of times I don't pay much attention to sports. It took me 3 years of college at UCLA to figure out that the big building that often had huge crowd out front getting in my way when I was late to rehearsal was Pauley Pavilion (for the non-sports minded, some amazing college basketball has happened there). True. Story.
However, given the amount of baseball I've been watching in the past week or so, I've been thinking about acting, auditions and stepping up to the plate.
The more sports minded can skip the next bit and tune back in in about a paragraph or so. Cause I'm going to explain what I know about batting average. Batting average in baseball is calculated as the number of times a player hits a ball divided by the number of times he is up at bat. Excellent batting averages are anything above .300. A batting average above .400 is next to impossible, over a lifetime. Occasionally someone goes above .400 for a season, but it's pretty rare.
What these numbers mean: an excellent hitter in baseball connects 3 times out of every 10 times at bat. Or, an excellent hitter in baseball doesn't connect 7 out of every 10 times at bat. Professional people, who get paid insane amounts of money to hit a ball with a stick only manage to execute that part of their job 30% of the time!
What these numbers tell me is that what these guys get paid to do isn't actually to hit balls with sticks. Rather, their job is to be ready, should all the other circumstances line up, to hit a ball with a stick. And ready means they prepare mentally and physically prior to the event, they learn about the people who are going to challenge their ability to hit a ball with a stick and anticipate what might happen, and to ultimately, when the time comes and they are called to the plate, they get out of their own way mentally and allow their bodies to do what they've prepped for, and still 70% of the time, they won't actually hit the ball.
It's amazing each time I watch the intense level of commitment and concentration of a batter at the plate. How all the training & preparation lives in that moment, how so much is out of their control, yet they know what they have control over.
Little acting lessons. Each time.
However, given the amount of baseball I've been watching in the past week or so, I've been thinking about acting, auditions and stepping up to the plate.
The more sports minded can skip the next bit and tune back in in about a paragraph or so. Cause I'm going to explain what I know about batting average. Batting average in baseball is calculated as the number of times a player hits a ball divided by the number of times he is up at bat. Excellent batting averages are anything above .300. A batting average above .400 is next to impossible, over a lifetime. Occasionally someone goes above .400 for a season, but it's pretty rare.
What these numbers mean: an excellent hitter in baseball connects 3 times out of every 10 times at bat. Or, an excellent hitter in baseball doesn't connect 7 out of every 10 times at bat. Professional people, who get paid insane amounts of money to hit a ball with a stick only manage to execute that part of their job 30% of the time!
What these numbers tell me is that what these guys get paid to do isn't actually to hit balls with sticks. Rather, their job is to be ready, should all the other circumstances line up, to hit a ball with a stick. And ready means they prepare mentally and physically prior to the event, they learn about the people who are going to challenge their ability to hit a ball with a stick and anticipate what might happen, and to ultimately, when the time comes and they are called to the plate, they get out of their own way mentally and allow their bodies to do what they've prepped for, and still 70% of the time, they won't actually hit the ball.
It's amazing each time I watch the intense level of commitment and concentration of a batter at the plate. How all the training & preparation lives in that moment, how so much is out of their control, yet they know what they have control over.
Little acting lessons. Each time.
Sunday, August 19, 2012
Audition Attitude
Man! I was at an industrial audition this week with some needy actors! Do you know what I mean? Apologetic body language during slate and profiles. Afraid to point out that there was actually one more character in the side than actors in the room so the assistant would need to read in. Needing the job so much that they hadn't prepped the sides well enough to get off the page and deliver lines to camera, and therefore weren't able to pick up the pace when given the direction to do so.
One of the things that makes auditions so terrifying/excruciating/difficult is the power dynamic. The people on the other side of the desk or camera are the ones making the decision on who gets the gig and who doesn't. And when we NEED those people to choose us, the energy in the room gets really hard to deal with, not only for the other actors in the room, but for the decision makers too.
How does one get past the neediness? Observe an audition from the other side - be a PA or a reader or find some other way into the room and you'll see how many factors go into casting that you never considered.
More importantly, cultivate an audition attitude. Lighten up and don't take it so seriously. Get to a place where you can take approval seeking out of the equation. Know yourself. Do your homework, take classes, get comfortable with the process of auditioning.
And flip it - the people on the other side of the table need you! If you come in and blow the house down, they can relax - you made their script sound good, their concept works, their story makes sense - because of you and your skill and talent.
And you might just want to listen to the song I've got below. I often make sure that the last thing I do before I leave the house is kick off the audition shoes and dance and sing along w/Jill Scott. And I take the amazing ladies of The A Group to the audition with me in my mind, to back me up with moves and harmony and all their red sequined awesomeness.
One of the things that makes auditions so terrifying/excruciating/difficult is the power dynamic. The people on the other side of the desk or camera are the ones making the decision on who gets the gig and who doesn't. And when we NEED those people to choose us, the energy in the room gets really hard to deal with, not only for the other actors in the room, but for the decision makers too.
How does one get past the neediness? Observe an audition from the other side - be a PA or a reader or find some other way into the room and you'll see how many factors go into casting that you never considered.
More importantly, cultivate an audition attitude. Lighten up and don't take it so seriously. Get to a place where you can take approval seeking out of the equation. Know yourself. Do your homework, take classes, get comfortable with the process of auditioning.
And flip it - the people on the other side of the table need you! If you come in and blow the house down, they can relax - you made their script sound good, their concept works, their story makes sense - because of you and your skill and talent.
And you might just want to listen to the song I've got below. I often make sure that the last thing I do before I leave the house is kick off the audition shoes and dance and sing along w/Jill Scott. And I take the amazing ladies of The A Group to the audition with me in my mind, to back me up with moves and harmony and all their red sequined awesomeness.
Sunday, August 5, 2012
Likeable female protagonists & Patton Oswalt on gamechangers
Must Read #1:
Stealing the Herd by playwright Carolyn Gage over on Howlround is about 'likeability' of protagonists in Broadway musicals, and it's fantastic.
Here's a few quotes:
And:
Fantastic - go read it!
Must Read #2:
Patton Oswalt delivered the keynote at Montreal's Just for Laughs in Montreal a week or so ago. If you haven't seen this yet, it's got some great thoughts for any creative art maker - just substitute what you do any time he uses the word 'comedian'
He writes 2 letters, one to the 'comedian in 2012', and one to the 'gatekeepers':
Highly inspiring - check it out
Stealing the Herd by playwright Carolyn Gage over on Howlround is about 'likeability' of protagonists in Broadway musicals, and it's fantastic.
Here's a few quotes:
It would appear that there exists a significant double standard for what is deemed acceptable behavior for male protagonists and female ones.
And:
What they know, and what I am learning, is that “likeable” means feminine. Even if the protagonist is the world’s greatest sharpshooter, she must still throw a match to get her man and take a number that says “I enjoy being a girl.
Fantastic - go read it!
Must Read #2:
Patton Oswalt delivered the keynote at Montreal's Just for Laughs in Montreal a week or so ago. If you haven't seen this yet, it's got some great thoughts for any creative art maker - just substitute what you do any time he uses the word 'comedian'
He writes 2 letters, one to the 'comedian in 2012', and one to the 'gatekeepers':
I need to decide more career stuff for myself and make it happen for myself, and I need to stop waiting to luck out and be given. I need to unlearn those muscles.
Our careers don’t hinge on somebody in a plush office deciding to aim a little luck in our direction. There are no gates. They’re gone.
Highly inspiring - check it out
Wednesday, July 11, 2012
On Making It Interesting
At a recent audition for an indie film, while I was using my prep time, I overheard two other actors discussing the sides. One had decided to give the character a British accent. Why? She wanted to 'make it more interesting.'
Hoo boy!
I don't know how much research this actor had done, but the emails from the casting director had included a link to a website with more info for the film. From looking at that website, it was a pretty good guess that the characters they were casting at this session were at best, supporting characters, and probably in reality more like under-5's. Characters who were not the focus of the story. Characters who were there so that the leads had someone to talk to while they revealed major plot points, grew and changed emotionally, etc.
Not characters who the viewer of the film was supposed to think 'that character is so interesting - I want to know more about her.'
I'm not saying these characters shouldn't be well-rounded, fully fleshed out, have an inner life. Of course that's true. But it behooves the actor to know why the character is there, what function the character has in the story, and to let that knowledge inform the choices.
Don't be funny if your character is the straight man. Don't take focus when your character's function is to give focus to the lead.
Figure out your job, and do it. If you trust yourself with that, it's gonna be interesting.
Hoo boy!
I don't know how much research this actor had done, but the emails from the casting director had included a link to a website with more info for the film. From looking at that website, it was a pretty good guess that the characters they were casting at this session were at best, supporting characters, and probably in reality more like under-5's. Characters who were not the focus of the story. Characters who were there so that the leads had someone to talk to while they revealed major plot points, grew and changed emotionally, etc.
Not characters who the viewer of the film was supposed to think 'that character is so interesting - I want to know more about her.'
I'm not saying these characters shouldn't be well-rounded, fully fleshed out, have an inner life. Of course that's true. But it behooves the actor to know why the character is there, what function the character has in the story, and to let that knowledge inform the choices.
Don't be funny if your character is the straight man. Don't take focus when your character's function is to give focus to the lead.
Figure out your job, and do it. If you trust yourself with that, it's gonna be interesting.
Friday, May 18, 2012
#TBACON takeaways
Due to my usual juggling of jobs, I wasn't able to get to the conference until after the keynote speaker had finished, and I didn't get to stay for any programming after 4pm. The TBA Chatterbox blog has a post with several different perspectives on the conference, and comments on many things that I wasn't able to attend.
The first thing I was able to attend was the Season Selection and Local Acting Landscape panel. I wasn't sure what this would really address, but it turned out to be a glimpse into the mind of people who make casting decisions. There was some terrific discussion around how they all talk to each other ALL THE TIME. They are constantly having conversations about 'do you know any actors who fit this specific type that I should be seeing?'. My take-away - always go to the audition, and focus on the relationship you're building over time, not just whether or not you got this part this one time. The other topic they really delved into was when actors are dealing with multiple offers. My take-away here was - be as honest as you can, and involve the casting director in the conversation as early as possible. It's much worse to drop a show when it's already in rehearsal than it is to leave prior to rehearsals starting. Also, they're dealing with this conflicting set of emotions - some frustration and hurt because you've created more work for them in having to recast, but also a lot of excitement for the actor who is making a big leap with his or her career. Two more takeaways - make a facebook connection to casting directors, and keep letting them know what you're doing. Your headshot and resume may be on file in their book, but their book isn't their brain - connecting w/casting directors will keep you in their brain.
After lunch, I went to the Diversity on Purpose panel, I'll confess to a combo of nerves about my upcoming panel and a little bit of the post-lunch spaciness. I didn't get a lot out of this panel. Diversity is a huuuuge topic for one hour, but the points here about diversifying the audience, not just the actors on stage was well taken. Also, the many forms of diversity that exist - not just ethnicity, gender, sexual orientation, but what about age, political affiliation, religion.
My last event of the day was my personal MAIN EVENT - the Gender Parity panel. Panelists AJ Baker playwright and founder of 3 Girls Theater, Rebecca Ennals of San Francisco Shakespeare Festival, also an independent director and Marilyn Langbehn, another independent director who also works in the Cal Shakes marketing department were all fantastic, and I'm so grateful to them for their contributions. After about 30 minutes, we began a group discussion with the 30-40 women and 3-4 men who were in the room.
Some takeaways for me: How to change the perceptions in the general population so that women's stories become human stories is a big one. Also I was surprised that a lot of people who were there weren't familiar with things like the Bechdel test and who the Guerilla Girls are. Rebecca Ennals spoke about her experience of watching women audition at the TBA generals with monologues along the lines of 'why doesn't he like me?' or 'how can I get him to notice me?' and coming out of that with an idea to create a monologue database of empowered female characters. Marilyn spoke about creating change from within - coming to a company as a freelancer, and then suggesting to that company plays by women and/or roles for women for future productions.
Mostly I was struck by the fact that we can all be agents for change. We need to read women's writing, get to know the plays with roles for women, and the women directors and women actors so that moving forward we can advocate for each other when the opportunity arises.
The first thing I was able to attend was the Season Selection and Local Acting Landscape panel. I wasn't sure what this would really address, but it turned out to be a glimpse into the mind of people who make casting decisions. There was some terrific discussion around how they all talk to each other ALL THE TIME. They are constantly having conversations about 'do you know any actors who fit this specific type that I should be seeing?'. My take-away - always go to the audition, and focus on the relationship you're building over time, not just whether or not you got this part this one time. The other topic they really delved into was when actors are dealing with multiple offers. My take-away here was - be as honest as you can, and involve the casting director in the conversation as early as possible. It's much worse to drop a show when it's already in rehearsal than it is to leave prior to rehearsals starting. Also, they're dealing with this conflicting set of emotions - some frustration and hurt because you've created more work for them in having to recast, but also a lot of excitement for the actor who is making a big leap with his or her career. Two more takeaways - make a facebook connection to casting directors, and keep letting them know what you're doing. Your headshot and resume may be on file in their book, but their book isn't their brain - connecting w/casting directors will keep you in their brain.
After lunch, I went to the Diversity on Purpose panel, I'll confess to a combo of nerves about my upcoming panel and a little bit of the post-lunch spaciness. I didn't get a lot out of this panel. Diversity is a huuuuge topic for one hour, but the points here about diversifying the audience, not just the actors on stage was well taken. Also, the many forms of diversity that exist - not just ethnicity, gender, sexual orientation, but what about age, political affiliation, religion.
My last event of the day was my personal MAIN EVENT - the Gender Parity panel. Panelists AJ Baker playwright and founder of 3 Girls Theater, Rebecca Ennals of San Francisco Shakespeare Festival, also an independent director and Marilyn Langbehn, another independent director who also works in the Cal Shakes marketing department were all fantastic, and I'm so grateful to them for their contributions. After about 30 minutes, we began a group discussion with the 30-40 women and 3-4 men who were in the room.
Some takeaways for me: How to change the perceptions in the general population so that women's stories become human stories is a big one. Also I was surprised that a lot of people who were there weren't familiar with things like the Bechdel test and who the Guerilla Girls are. Rebecca Ennals spoke about her experience of watching women audition at the TBA generals with monologues along the lines of 'why doesn't he like me?' or 'how can I get him to notice me?' and coming out of that with an idea to create a monologue database of empowered female characters. Marilyn spoke about creating change from within - coming to a company as a freelancer, and then suggesting to that company plays by women and/or roles for women for future productions.
Mostly I was struck by the fact that we can all be agents for change. We need to read women's writing, get to know the plays with roles for women, and the women directors and women actors so that moving forward we can advocate for each other when the opportunity arises.
Monday, April 23, 2012
Deja Vu
Recently, I've been contacted by various indie filmmakers interested in me for their projects, but I've had to turn down the auditions because some of my warning flags were raised. I thought I'd write a post about those flags, but wanted to check my archives to make sure I wasn't repeating myself.
And voila: Dear Low-Budget Independent Filmmaker - the post I wrote EXACTLY ONE YEAR AGO TODAY.
The most important point to reiterate:
"What you need on set is a well-prepared actor. If you don't let me have sides in advance, how can you assess my skills at preparing?"
And voila: Dear Low-Budget Independent Filmmaker - the post I wrote EXACTLY ONE YEAR AGO TODAY.
The most important point to reiterate:
"What you need on set is a well-prepared actor. If you don't let me have sides in advance, how can you assess my skills at preparing?"
Tuesday, April 17, 2012
Another auditioning related epiphany
So there's a certain kind of audition out there that I call 'guy with the shirt'. These auditions are for commercials, for industrials, occasionally (in the Bay Area at least) for film and TV. The character has no lines, simply a bit of business or a reaction. They're angry about the network crashing, or ecstatic because it turns out it's raining money, or relaxed for the first time in years.
In other words, it's Acting 101 - reacting to a set of circumstances. It doesn't take a Streep or an Olivier to nail the acting skill required. You just show up at the right place at the right time, doing your best to look like the type they want - for me this is usually either Business Lady (I wear a suit) or Mom (I wear a solid colored knit top from H&M with either jeans or khakis). I'm just a typical guy with a shirt.
GWTS auditions aren't about dazzling them with your acting skills. You can't. You're just playing a reaction. GWTS auditions you'll either book or you won't, depending on whether or not you're the flavor they're looking for - a flavor that has to blend with all the other flavors they're using on the project.
So instead of showing off skill (and focusing on how I'm doing and working hard to do the audition 'right', what ever that is), I'm learning to show off my flavor. My focus is on making a connection in the audition room. Really listening and responding to direction, asking for clarification if I need it, and being as authentic as I can.
And knowing that if I don't book it, the reason has nothing to do with my acting skills, and everything to do with subjective things related to what kind of guy with the shirt they need for this one. And, releasing the idea of 'being a good actor' and switching instead to 'being an authentic person interested in connection' has led to me having more fun at these types of auditions, and feeling better about how I'm doing.
Yay!
P.S. initial auditioning related epiphanies post is here!
In other words, it's Acting 101 - reacting to a set of circumstances. It doesn't take a Streep or an Olivier to nail the acting skill required. You just show up at the right place at the right time, doing your best to look like the type they want - for me this is usually either Business Lady (I wear a suit) or Mom (I wear a solid colored knit top from H&M with either jeans or khakis). I'm just a typical guy with a shirt.
GWTS auditions aren't about dazzling them with your acting skills. You can't. You're just playing a reaction. GWTS auditions you'll either book or you won't, depending on whether or not you're the flavor they're looking for - a flavor that has to blend with all the other flavors they're using on the project.
So instead of showing off skill (and focusing on how I'm doing and working hard to do the audition 'right', what ever that is), I'm learning to show off my flavor. My focus is on making a connection in the audition room. Really listening and responding to direction, asking for clarification if I need it, and being as authentic as I can.
And knowing that if I don't book it, the reason has nothing to do with my acting skills, and everything to do with subjective things related to what kind of guy with the shirt they need for this one. And, releasing the idea of 'being a good actor' and switching instead to 'being an authentic person interested in connection' has led to me having more fun at these types of auditions, and feeling better about how I'm doing.
Yay!
P.S. initial auditioning related epiphanies post is here!
Sunday, March 18, 2012
Super-hero Work
A sudden thought this week - being an actor is at times like being some kind of double agent or super-hero. You're at the day job or somewhere in the middle of the daily routine and the call comes in, often w/a great deal of urgency and a significant amount of money on the line.
"Tomorrow morning, be at x address at x time. Dress like a career woman. Be ready to speak these words." (on camera industrial audition)
"By 5pm today, send me digital pictures of your hands, fronts and backs." (hand modeling for a SAG National commercial)
"Record these words and email an mp3 by x o'clock." (voiceover for a regional radio spot)
Somehow, you've got to immediately fold this incredibly urgent task into the next 24-48 hours. You've got to always be ready for it. You never know when the next summons could come or what it will be for.
So the actor skill sets need to stay sharp, the mom sweater needs to always be clean, the recording equipment & camera need to be in good working order, and the communication devices are up and running.
I am so thankful for the understanding people in my life - friends, family, loved ones, and employers and work colleagues. Without them, none of this would be possible.
"Tomorrow morning, be at x address at x time. Dress like a career woman. Be ready to speak these words." (on camera industrial audition)
"By 5pm today, send me digital pictures of your hands, fronts and backs." (hand modeling for a SAG National commercial)
"Record these words and email an mp3 by x o'clock." (voiceover for a regional radio spot)
Somehow, you've got to immediately fold this incredibly urgent task into the next 24-48 hours. You've got to always be ready for it. You never know when the next summons could come or what it will be for.
So the actor skill sets need to stay sharp, the mom sweater needs to always be clean, the recording equipment & camera need to be in good working order, and the communication devices are up and running.
I am so thankful for the understanding people in my life - friends, family, loved ones, and employers and work colleagues. Without them, none of this would be possible.
Friday, February 17, 2012
Get out in front!
Over the weekend, I led a seminar for the Theatre Bay Area ATLAS program, and it reminded me of this idea.
For longevity, for sanity, for finding things that we can control, we've got to get out in front of our careers. This is about being active rather than passive, initiating rather than reacting. It's about the fact that they may be auditioning you, but you're also using that audition time to learn more about a company or a director and whether or not you want to work with them.
It's about reading plays as they get their first productions in London or New York, so that you know what parts are out there for you to be watching for when those shows are produced in your region.
Making your own films, writing your own monologues, creating solo shows also fit in here.
You don't need to wait for them to contact you or post an audition notice. You can contact them, compliment their work sincerely and let them know that you're out there.
It's about knowing what kind of work you want, rather than taking anything that gets offered to you, just because it got offered to you.
Does this make sense? If you're not sure you've got what I'm talking about, read this. Blogger/actor Virginia Wilcox is applying to MFA acting programs, and doing a great job of getting out in front of that process.
For longevity, for sanity, for finding things that we can control, we've got to get out in front of our careers. This is about being active rather than passive, initiating rather than reacting. It's about the fact that they may be auditioning you, but you're also using that audition time to learn more about a company or a director and whether or not you want to work with them.
It's about reading plays as they get their first productions in London or New York, so that you know what parts are out there for you to be watching for when those shows are produced in your region.
Making your own films, writing your own monologues, creating solo shows also fit in here.
You don't need to wait for them to contact you or post an audition notice. You can contact them, compliment their work sincerely and let them know that you're out there.
It's about knowing what kind of work you want, rather than taking anything that gets offered to you, just because it got offered to you.
Does this make sense? If you're not sure you've got what I'm talking about, read this. Blogger/actor Virginia Wilcox is applying to MFA acting programs, and doing a great job of getting out in front of that process.
Monday, February 13, 2012
a video and an article
Article from 'The Stage' (which is kind of the UK's Backstage) advocating for theaters to step up and join the fight for roles for older female actors. Read it here.
Inspiring video that helped me get through 3 auditions in 3 days is here. I know I'd seen the Rube Goldberg machine version of this video a million times on facebook, but this older version with the marching band is also fantastic, and the message in the lyric is helpful when auditioning - reminds me to do it, then move on - can't keep lugging things around!
Inspiring video that helped me get through 3 auditions in 3 days is here. I know I'd seen the Rube Goldberg machine version of this video a million times on facebook, but this older version with the marching band is also fantastic, and the message in the lyric is helpful when auditioning - reminds me to do it, then move on - can't keep lugging things around!
Thursday, February 9, 2012
Introductions in auditions, on-camera and voiceover edition
When you're doing a media audition - either voiceover or on-camera, the introduction is called a slate. The slate is your name and sometimes your agency info, your contact info, or the name of the character or the project. Pay attention to the specific slate instructions and make sure you follow them.
But, if you're given no instructions about the slate or just told to 'slate your name' then this means say your first and last name at the beginning of the v/o track or do a brief greeting/intro with your name when they first roll camera at the on-camera audition 'hi, I'm Joe Actor'
Do this intro as yourself, rather than using the character voice in the voiceover or the given circumstances of the on-camera audition. And, it's your opportunity to introduce yourself to the client or director of the project. Usually, you're recording the voiceover audition in your home studio or with a sound engineer, or you're doing the on-camera audition with a casting agency's session runner, not the actual people who will be making the decisions about which actors will be involved in the project.
For voiceover, the intro is done. But for on-camera, there may be a few more steps. They may want to take a photo, zoom out so they can see your whole body, have you show profiles or do a 360, or show the fronts and backs of your hands.
If you're asked to show profiles, this means that you'll do a turn to both your left and right and show both sides of your face. If you're asked to do a 360, you'll turn in a circle so the camera can see you all the way around. Practice these with a friend and a camera so you can figure out how quickly you should move when doing these maneuvers.
Similar to the theater audition, the slate and the rest of the intro is your chance to show that you're both professional and personable. That you're going to be a good person to have on set - you're friendly, efficient and good at what you do.
But, if you're given no instructions about the slate or just told to 'slate your name' then this means say your first and last name at the beginning of the v/o track or do a brief greeting/intro with your name when they first roll camera at the on-camera audition 'hi, I'm Joe Actor'
Do this intro as yourself, rather than using the character voice in the voiceover or the given circumstances of the on-camera audition. And, it's your opportunity to introduce yourself to the client or director of the project. Usually, you're recording the voiceover audition in your home studio or with a sound engineer, or you're doing the on-camera audition with a casting agency's session runner, not the actual people who will be making the decisions about which actors will be involved in the project.
For voiceover, the intro is done. But for on-camera, there may be a few more steps. They may want to take a photo, zoom out so they can see your whole body, have you show profiles or do a 360, or show the fronts and backs of your hands.
If you're asked to show profiles, this means that you'll do a turn to both your left and right and show both sides of your face. If you're asked to do a 360, you'll turn in a circle so the camera can see you all the way around. Practice these with a friend and a camera so you can figure out how quickly you should move when doing these maneuvers.
Similar to the theater audition, the slate and the rest of the intro is your chance to show that you're both professional and personable. That you're going to be a good person to have on set - you're friendly, efficient and good at what you do.
Tuesday, February 7, 2012
Introductions in Auditions, Theater edition!
Today's post is prompted by the time I spent over the weekend as a volunteer at the Theatre Bay Area General auditions - volunteering at the Generals is a highly recommended super educational experience for actors at any stage in their career.
Introductions for a theater general audition should include: your name, both first and last, and an introduction of the pieces you'll be doing.
If you're walking in past the auditors and get to greet them on your way in, then you won't need to say your name again from the stage. But, if you're walking in from the wings, and the auditors are out in the house, your intro should include your name, so the auditors can make sure they're studying the correct headshot/resume during your audition.
To introduce monologues, use a personalized combination of these three elements - the character's name, the title of the play, and the play's author, which would go 'I'm presenting Libby from Craig Lucas's Blue Window; or 'This piece is Libby from Blue Window by Craig Lucas' If the play is from the generally established 'canon' you don't need to mention the author, just title and role. Something like 'I'll be doing Juliet from Romeo and Juliet' or 'My first piece is Juliet from Romeo and Juliet'
Find the best version of your own language that gives the title/author/character name clearly and concisely. It seems like personalized, active, present tense goes better than distanced, passive, future tense language. So I'm doing/presenting/sharing character from play by author rather than This piece that I am going to be acting in is a monologue for the character Karen from the play Children's Hour. The author of Children's Hour is Lillian Hellman.
For songs (which I don't usually do), the normal intro seems to be the title of the song followed by the title of the musical. Know your composer and lyricist, and know the character name, so you can share if asked.
It's great for the actor to know more about the play or musical, especially if it's not very well known. Translator/adaptor's name for older pieces or foreign pieces, production history of a newer piece, a nutshell summary of the plot, circumstances of the scene that your monologue is from - all of these things can be springboards into further conversation if the auditor wants to know more about the piece, after you've finished your audition. None of them need to be in your introduction though.
Above all, the intro is where you can be professional and personable, efficient and connected, and let the auditors know that you understand their time is valuable while at the same time displaying the essence of you.
Rehearse intros and figure out what works best for you.
For camera and voiceover, this is a different ballgame, and I'll cover it later this week!
And, I'm leading a seminar on Saturday Feb 11 from 1pm to 2:45pm on 'Navigating Your Career as a Bay Area Actor' $25 for TBA members/$40 for non-members. Sign up by calling Theatre Bay Area at 415.430.1140 x10 or email tba@theatrebayarea.org. Space is limited!
Introductions for a theater general audition should include: your name, both first and last, and an introduction of the pieces you'll be doing.
If you're walking in past the auditors and get to greet them on your way in, then you won't need to say your name again from the stage. But, if you're walking in from the wings, and the auditors are out in the house, your intro should include your name, so the auditors can make sure they're studying the correct headshot/resume during your audition.
To introduce monologues, use a personalized combination of these three elements - the character's name, the title of the play, and the play's author, which would go 'I'm presenting Libby from Craig Lucas's Blue Window; or 'This piece is Libby from Blue Window by Craig Lucas' If the play is from the generally established 'canon' you don't need to mention the author, just title and role. Something like 'I'll be doing Juliet from Romeo and Juliet' or 'My first piece is Juliet from Romeo and Juliet'
Find the best version of your own language that gives the title/author/character name clearly and concisely. It seems like personalized, active, present tense goes better than distanced, passive, future tense language. So I'm doing/presenting/sharing character from play by author rather than This piece that I am going to be acting in is a monologue for the character Karen from the play Children's Hour. The author of Children's Hour is Lillian Hellman.
For songs (which I don't usually do), the normal intro seems to be the title of the song followed by the title of the musical. Know your composer and lyricist, and know the character name, so you can share if asked.
It's great for the actor to know more about the play or musical, especially if it's not very well known. Translator/adaptor's name for older pieces or foreign pieces, production history of a newer piece, a nutshell summary of the plot, circumstances of the scene that your monologue is from - all of these things can be springboards into further conversation if the auditor wants to know more about the piece, after you've finished your audition. None of them need to be in your introduction though.
Above all, the intro is where you can be professional and personable, efficient and connected, and let the auditors know that you understand their time is valuable while at the same time displaying the essence of you.
Rehearse intros and figure out what works best for you.
For camera and voiceover, this is a different ballgame, and I'll cover it later this week!
And, I'm leading a seminar on Saturday Feb 11 from 1pm to 2:45pm on 'Navigating Your Career as a Bay Area Actor' $25 for TBA members/$40 for non-members. Sign up by calling Theatre Bay Area at 415.430.1140 x10 or email tba@theatrebayarea.org. Space is limited!
Monday, February 6, 2012
Control for actors - what you can and what you can't
A couple of weeks ago, I was making dinner and things weren't turning out the way I wanted. I started getting upset about it. Kevin asked 'why are you getting so upset?' and somehow I had a crazy moment of clarity in the middle of all of that and said something to the effect of 'I'm getting upset because making dinner is one of the few things in my life I have control over. I have so little control over so much of what goes on in my life!'
Since then I've been thinking about the control issue for actors, and how to make a blog post. I thought about how Karen Kohlhaas covers this very well in regards to auditions in her book The Monologue Audition, and was going to start there.
But then today, Bonnie Gillespie's column on the showfax website just hits it out of the park, so I'm not going to write anything else. Go read Bonnie's column now.
Since then I've been thinking about the control issue for actors, and how to make a blog post. I thought about how Karen Kohlhaas covers this very well in regards to auditions in her book The Monologue Audition, and was going to start there.
But then today, Bonnie Gillespie's column on the showfax website just hits it out of the park, so I'm not going to write anything else. Go read Bonnie's column now.
Wednesday, January 25, 2012
fun with spreadsheets 2: the actions/relationships list
Another glimpse into how I use excel spreadsheets to manage my career. When I joined Actor's Equity, I made a list of theaters in the region that offer Equity contracts. And then I rated them based on how much of an 'in' I have at those theaters.
Like this:
0 = I don't know anyone there.
1= I've met someone from their casting/artistic staff.
2= I've done a general audition.
3= I've been called in to read for a specific project.
4= I've had a callback or done a reading/small project.
5= I've been cast at that theater.
So my spreadsheet has 3 columns: rating, company name, and next step.
Having this spreadsheet helps me know where I'm at with each company, and what my next action should be with each different theater. For some companies, I'm looking for an introduction to their casting director, for others, I want to make sure I do their generals next time they come up, and at others I'm pitching myself for appropriate roles in their next season.
Since I've got everything in one place, I can develop specific targeted strategies to move my relationships up the ladder. I know that zero doesn't turn into 5 overnight - this is a marathon, not a sprint - and that building and maintaining relationships over time is one of the keys to a long career.
I'm going to be sharing info like this at the class I have coming up on February 11th from 1pm to 2:45pm for Theatre Bay Area called 'Navigating Your Life as a Bay Area Actor' which is part of TBA's ATLAS program, a career development program for performing artists. If you'd like to take my class (or want to recommend it to someone), it costs $25 for TBA members/$40 for non-members, and you can reserve your spot by calling (415) 430-1140 x10 and speaking to a TBA Membership Associate, or by emailing tba@theatrebayarea.org. There are a bunch of other great classes too, on topics like time management, goal setting, and PR/Marketing for the actor. Worth checking out!
Like this:
0 = I don't know anyone there.
1= I've met someone from their casting/artistic staff.
2= I've done a general audition.
3= I've been called in to read for a specific project.
4= I've had a callback or done a reading/small project.
5= I've been cast at that theater.
So my spreadsheet has 3 columns: rating, company name, and next step.
Having this spreadsheet helps me know where I'm at with each company, and what my next action should be with each different theater. For some companies, I'm looking for an introduction to their casting director, for others, I want to make sure I do their generals next time they come up, and at others I'm pitching myself for appropriate roles in their next season.
Since I've got everything in one place, I can develop specific targeted strategies to move my relationships up the ladder. I know that zero doesn't turn into 5 overnight - this is a marathon, not a sprint - and that building and maintaining relationships over time is one of the keys to a long career.
I'm going to be sharing info like this at the class I have coming up on February 11th from 1pm to 2:45pm for Theatre Bay Area called 'Navigating Your Life as a Bay Area Actor' which is part of TBA's ATLAS program, a career development program for performing artists. If you'd like to take my class (or want to recommend it to someone), it costs $25 for TBA members/$40 for non-members, and you can reserve your spot by calling (415) 430-1140 x10 and speaking to a TBA Membership Associate, or by emailing tba@theatrebayarea.org. There are a bunch of other great classes too, on topics like time management, goal setting, and PR/Marketing for the actor. Worth checking out!
Tuesday, January 24, 2012
more links: successful people and odds of pilot success
Here are some more great links from recent reading:
Marc and Angel Hack Life has a great post listing the 12 things successful people do differently. It has links to book titles and lots of good ideas on things like goal setting, finding balance, and measuring/tracking progress.
And, for a dose of Hollywood TV land reality, take a look at Ken Levine's blog, where he writes about the process of creating and casting a hit series. Keep reading until the comments, where you'll see a lot of people say things like 'yikes! I had no idea it was this hard to be an actor!'
Lastly, over at 2amt (a blog/twitter hashtag where you can share your 2am thoughts about theater and theatermaking), there's a post by playwright Laura Axelrod entitled 'Can Women Write Good Plays?' And, even more awesome is the birth of a new twitter hashtag: #2femt, which looks to be a place for discussion of women's representation in theatermaking.
Marc and Angel Hack Life has a great post listing the 12 things successful people do differently. It has links to book titles and lots of good ideas on things like goal setting, finding balance, and measuring/tracking progress.
And, for a dose of Hollywood TV land reality, take a look at Ken Levine's blog, where he writes about the process of creating and casting a hit series. Keep reading until the comments, where you'll see a lot of people say things like 'yikes! I had no idea it was this hard to be an actor!'
Lastly, over at 2amt (a blog/twitter hashtag where you can share your 2am thoughts about theater and theatermaking), there's a post by playwright Laura Axelrod entitled 'Can Women Write Good Plays?' And, even more awesome is the birth of a new twitter hashtag: #2femt, which looks to be a place for discussion of women's representation in theatermaking.
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