Make a Fan of the Casting Director

Don't worry about getting the role. Your goal should be to consistently go into each audition prepared and having made great choices. Build a foundation for the future. Know that most casting directors take great notes, and will remember you for future parts that may be perfect for you. They'll most likely bring you in again if you do a great job. So focus more on giving a terrific audition.

What to Do When You Get the Call - Questions to Ask Your Agent

Have this list by the phone when your agent calls or emails.

Who am I auditioning for?

Keep a list of all the people you audition for, and the people who are your fans. Also keep notes of your feedback and what you wore on your auditions.

What am I auditioning for?

Your acting style will be different for a Michael Bay film versus a sitcom, so you need to know the genre that you're auditioning for. Do your homework watching shows, so when you get the call you'll know the style of that show. You should also do Internet searches about the project and people involved.

What role and I auditioning for?

Get a copy of the Breakdowns that describe the character.

What level of audition is this?

Is this a pre-read? Is it a producer/director audition? Is it a callback? Is it a chemistry read? There are many types of auditions.

Keep a diary/journal/record of all your auditions and meetings

(see blog - "Dear Diary..." Lecture 4)

Types of Auditions

The Chemistry Reading

With the chemistry read audition, you may be asked to go in and audition with the actor that's already been hired. Or, they may just have you go in to see your chemistry with another actor.

Types of Auditions

General Audition

No one meets the producer and director unless I know the actor's work. A general audition is where I get to know you. Especially if I don't know your work, I want to get to know you.

Come in and have a couple interesting stories to talk about with the casting director. It can be a couple of professional stories like what you've been working on lately, or classes that you're taking, or personal stories such as - you got a new dog, or you just got back from your honeymoon. These stories help give me an idea of who you are. I want to see what's exciting about you.

Also, you should do your homework. You should know about casting director. You could talk about the series they cast, or when you cast that movie how did you find the kid.

It's a two-way street. I can ask questions. And you can ask questions also.

Use your instincts to judge how busy the office is because he may not have time for a lot of small talk.

Types of Auditions

The Pre-Read

In the pre-read, I can help prep you so you're ready for your callback. I've been working with the directors, producers, and executives for weeks and I know what they want.

The pre-read is a great opportunity to hash out the scene and ask questions.

A good casting director will give you information and direct you on what you should do and wear for your callback. I'll give you lots of notes, so when you come back, you'll be exactly in the zone of what we're looking for.

Make sure to use this information that I give you and retain it for your callback. Many times I've worked with an actor on their pre-read, then they come in for their callback after having worked with a new acting coach and they've changed-up their entire take on the character and have forgotten all the specific notes and beats I've given them.

Get The Script

Read the script. It's a SAG-AFTRA rule that you are supposed to get the script. Be pro-active to make sure you get the script.

Many times the script is top secret and they won't release it. Know that it's a level playing field in this case because no one is getting it. If you can't get the script, look at the breakdowns and sides for all the roles to give you an idea of what's going on in the story. Websites like ActorCast, Showfax, Breakdown, or ActorsAccess have the sides - you can read them all and piece together what the script is about.

Ask questions of your agent and or manger. They work for you.

If you get an audition and don't have an agent, then call the casting assistant and politely ask for the script.

Be prepared and read the script. It's your job to do this. Even if you have one line, you need to read the screenplay to get the tone of the piece. Also, we may like you and want you to audition for another character. If you've read the script, you already have an idea who this other character is because you know the story inside and out.

Where and When?

Be precise. Make sure you know exactly where your addition is. If not you can be late trying to find the place, and it's hard to recover from that.

Leave 15 minutes ahead of when you think you should be there.

Plot your course. With the Internet you can go online and find out exactly where the office is.

In your car, concentrate on your role to get your head in the right place.

Preparing for your audition

Read the script with another human being so you get that conversational rhythm. So many times actors come in and I can tell they've never read the scene with another person. These days it's easy to call a friend or even Skype/FaceTime with someone. Do this for your acting buddies and they'll do it for you!

What to Wear

What an actor wears to their audition shows me how they're thinking - or NOT thinking! Give a small flavor of what the character would wear.

It helps us see you in the role. Don't get all costumey - you don't need to be dressed in a police uniform, since that's a bit overboard.

Keep jewelry simple.

Before taping take off noisy bracelets before taping.

Don't wear perfume or cologne.

Your Time Call

Don't think you can show up at another time. If you're late, call ahead of time. Don't just show up.

Be nice to the casting assistant - they are my "eyes and ears" in the waiting room.

Make sure your sides are correct beforehand. There can be rewrites. Check in with the assistant.

It goes without saying.....be nice to the casting assistants.

The Dreaded Waiting Room

Show up on time and expect to wait. And you can wait a long time.

Figure out what keeps you going — what keeps you in the zone

Be careful not to be psyched out by other actors in the room.

You can put earbuds in your ears to be left alone, so you don't get distracted.

Try not to listen to the other actors' auditions.

The minute you walk in the door, you're auditioning.

Being scattered, or complaining can make you lose the part. If you have weird, frenzied, or negative energy we'll pick up on that it's uncomfortable to be around.

Come in with your sides, and your purse if you're a woman. Leave your coat and the rest of your stuff in the waiting room.

Come in graceful and together and sit down.

Sit down poised, and get ready to do your scene.

Prepare Before You Come in the Room

Don't do vocal warmups and stretches in the audition room.

How you are in the audition room is indicative of how you'll be on the set.

Shaking Hands

If they extend their hand, then shake their hand, otherwise don't shake hands.

Bring your picture and resume.

ALWAYS bring your picture and resume to your auditions even if you think we have one already. It's your calling card. Have a kit in your car with your photos, resumes, and DVD. Even have a stapler.

Be prepared.

Make sure your photo actually looks like you.

Keep it simple. Make it real. Keep your makeup and jewelry simple.

For film and television, it's a headshot, not a full body shot.

Make sure your resume is accurate and updated.

If you change your look drastically, show it in a picture so we know what you look like now.

On your resume, your special skills- keep it real. Don't lie.

Prepare Before You Come in the Room

Don't do vocal warmups and stretches in the audition room.

How you are in the auction room is indicative of how you'll be on the set.

Being Off Book (Having Your Lines Memorized)

The more you get called back, we expect you to be more off-book. It'll help free you up.

But, make sure you can still make adjustments so don't cement in your choices.

Be completely off-book if you're testing at the network.

Asking Questions

Many times we'll ask if you have any questions. This is a good time to get the clarification you many need to proceed with your audition. Please know that you don't have to ask questions, but it's the perfect time to get the insight you need.

Don't bring the producer or the director into the scene by making them one of the characters. Look over the heads of the people in the room. Don't pull someone in the scene as it makes them very uncomfortable.

Start Over

If you get off to a bad start, just say, "I'm going to start over." Grab control of the room. It you're two or three pages into the scene, then pause and recover for a second, and keep going.

The Camera is Your Friend

Do not look directly into the camera, unless it's a commercial audition.

It you just think it and feel it, the camera will pick it up.

Make sure your hair isn't in your face. We want to see you!

If there's a third person in the scene, make them just the other side of the camera so that you're not directing your off-camera looks towards the wall!

Unless the scene calls for you to sit down, stand up. It'll give you more energy. Make sure the person reading with you is also standing so your eyeliner is level. Politely ask if they could stand so you eyeline is level with the camera.

Changing the Dialog

There is really no reason to change it unless you're making it better. Don't add in words such as "like" or "you know."

It is okay to change things a little bit. Be careful not to go overboard.

I've noticed, especially in television, that the creators are especially prickly about this. Remember that many times the writer is the producer/creator. They like their words.

Confidence

When and actor takes control of the room, it makes us notice them.

Part of getting over nervousness is auditioning a lot and, much like going to the gym, exercising that muscle.

It's all about your perspective. How often do you actually get to act? View your audition as a chance to "play" and show us your take. Think of yourself as a collaborator, and filmmaker - not just an actor coming in to get a job.

Some people imagine they're a tree and send roots down through their body to ground them. Everyone has a different "trick" they use.

Know that the casting people want you to get the part.

It's good for us to see that you're comfortable in your own skin, and make it look like you're saying it for the first time.

No Callback?

If you don't get a callback, don't sweat it. Seriously you have to let this work roll off your back.

You may have given a great audition, but you don't look right. You don't look like you fit into the family we're casting, or you don't look like you fit into this piece, or it isn't a good fit.

I've been private coaching lately, and one of the actresses said she wasn't getting any reaction in the room. I explained to her that we're sitting in the room sometimes four to eight hours a day, seeing people every ten to fifteen minutes.

Know that other things can be going on in the room that have nothing to do with you. So you have to walk into that room and steel yourself against that negative energy. You have to bring the party. You have to be ready for the fact that maybe they won't laugh at the funny part in your performance—that sometimes you may not get that instantaneous reaction.

Do your job. Walk out the door and let it go.

There's so many things in this business that are out of your control. You do have one thing that's in your control and that is to be good. Come in there and be prepared. Be rehearsed. Know the scene. Own that room. Come in there and do a job the best you can. After that, walk out and let it go. The role either has your name on it, or it doesn't. If you make a good impression, they'll bring you in for something else.

How To Self-Tape Your Audition Like A Rockstar
By Marci Liroff

As many projects are asking for you to self-tape your audition as a form of pre-screening, many of you have asked how to self-tape your auditions. For some, the mere idea of this can be daunting. I urge you to get comfortable with doing this. It’s not as hard as it may seem. If you think about it, you’re actually the actor, director, and producer of your own audition! You are finally in control of your audition!

Here are some instructions that you should follow.
Pay attention to ALL of the instructions that the CD or website gives you. If they tell you to do it a specific way, DO IT THAT WAY!

Know the material. Be as off-book as possible so that you can interact with your scene partner (who’s off-camera). It’s ok to hold your sides, but we don’t want to see you literally reading off the page.

TECHNICAL STUFF
TRIPOD:
This is important! Make your audition as professional as possible by attaching your camera to a tripod. Nobody wants to watch an audition on a hand-held camera. If you don’t have access to a tripod (or can’t borrow one!), prop your camera on a table on top of some books so that it matches your eyeline (never shoot under your chin – that look isn’t good on anyone!)

LIGHTING:
The best thing is to use natural light. Make sure you’re not shooting TOWARDS a window or the light, but that the natural light is actually lighting YOU! If you don’t have natural light, then get some appropriate lighting. You can actually use lamps if you don’t have real lights. You can even use those wonderful large globe Chinese Lanterns (w/the white shades) – those throw a lot of nice soft light.
 Go onto YouTube and search for “3 point lighting“.

You’ll get A LOT of videos how to do this. This will make your video look very professionally done and you can even do it on the cheap if you’re going to be doing this at home a lot. Go to Home Depot and get some “work lights”, and you can fashion a stand for them.
 One of my Twitter followers just sent me a link to Cowboy Studio which has inexpensive lighting packages.

Make sure you “white balance” your camera before you start shooting. Many cameras these days have an auto-white balance. If yours doesn’t, check the instructions and figure out how to do it. In many cases, you can just hold up a white piece of paper about 5 inches in front of the lens and that’ll do the trick.

THE BASICS:
1. Find a quiet and well lit room.

2. Have the actor stand in front of a blank white, blue or grey painted wall. You can always use a plain sheet.

3. Have someone other than the actor (the “reader) reading the supporting lines off camera. Do not attempt to do a scene by yourself unless it’s a monologue. Even then, have a friend operate your camera. Have your “reader” stand RIGHT NEXT TO the camera – almost hugging the tripod. EYE LINE! This is very important. So often the actor is reading to a partner that is SO far away from the camera, all we see is his profile. Make sure the actor looks at the reader during the scene and not directly at the camera.


4. You want to frame CHEST UP – not too much head room. Make sure we can see your face. You should stand about 3-5 ft. from the camera. Some projects ask for a full body shot as well to include before or after you do your scene.

5. Camera should be at eye level or just slightly above, NEVER underneath your chin.

6. Record a test sample first and see how it looks and sounds on the computer first to make final adjustments before taping the scenes.

7. When you are ready to record the scene, make sure the actor adds a verbal “slate” first by saying their name, the city they are from and role they are reading for. Make sure that your slate is a SEPARATE take from your audition scenes. Don’t just roll from your slate right into the scene – that’s an amateur move. Some CDs request a slate on a piece of paper w/the pertinent info. Just make sure we can READ IT!

9. Record the scenes 2 or 3 times (or as many times as you need), pausing between takes so that you can pick the best one once youʼve had a chance to review them. Only include your best take.

10. Make sure your audition is labeled with all your contact info clearly on the clip – you can do this before and after – it never hurts to be sure. This is very important. We need to be able to reach you if we want to call you back or give you re-direction.

You can also self-tape from your webcam on your computer (a video camera is better, so ONLY do this if you have no other options). If you’re going to do it this way, I suggest you raise your laptop up a bit so that it’s not shooting “up” at you with an unflattering angle. You can also practice your upcoming auditions with your webcam and play them back so you can see what’s working and what’s not!

Glad you’re here – Marci

Acting is Reacting

Good actors listen. Acting is about reacting. I've had actors say they can't act a love scene with me because I'm not a guy. I think that's lazy. Many times on the set, the lead actor is going to be released for the day and you're going to be acting with a script supervisor. So you have to bring it in any circumstance. Let's say you're doing a special effects movie, you're going to be reading to a piece of tape on the wall. You have to imagine the entire monster coming at you.

You have to use your imagination and give a good performance whether you have a good reader reading opposite you or not.

PET PEEVES

The following is a list of pet peeves, gathered from Casting Directors all over the country. It is not meant as an attack, but an educational device to help illustrate what not to do in an audition. All of these stories are true.

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Pic/res not stapled together. This means, don’t ask to borrow my stapler or my assistant’s staper. Make sure your contact info and agent/mgr. is written on the photos AND your resume in case they get separated – which can happen.

Not being aware of the situation. When actors are outside and they know people are waiting, but they take it upon themselves to "have a moment” with everyone waiting in the room. It's like I always say, it's not. "According to the Waiter" it's "According to Jim" - so don't try to make a meal from a mouthful.

No weapons, not even fake ones. I’ve had actors pull fake guns and knives on me – it was very traumatic.

No touching the casting director. I was in a producers session reading a scene about a homeless guy who attacks the girl. I was reading with the actor and he came up to me and put his arm under my face pushing on my neck and thus pushing so hard that he knocked the wind out of me. I was shaken. My producers were appalled. He was sorry but I have never brought him in again.

In the screen test for a film I was doing, I was reading off camera with an actor. We were doing a fight scene where he and his girlfriend break up. He picked up a chair and threw it across the stage - at me! Luckily, I ducked!

When actors don't have their headshot/resume ready when they are called, and then have to dig through their bags while you wait for them.

Don't get offended if the casting director won't shake hands. We aren't being paranoid or crazy, it's just that 100 handshakes is a lot of germs in a day.

Coming to an audition, coming to callbacks, booking the job, and suddenly remembering that you are getting married and are not available. Actors who don't know the shoot dates or come in and think it's better to be seen even if they aren't available.

Coming an hour early and hoping that we can "fit them in".

Actors that preface their audition with an excuse....I was tired, sick - all it says to me is, "get ready, I am going to be really bad today.”

Coming in with a bad attitude. Never underestimate the effect being pleasant has on everyone.

Asking to be seen for another role, or complaining that they felt that there was another role they were better suited for.

Make sure your cell phone is off before you enter the room. This should be obvious, but in this age of connectivity, many people feel compelled to respond immediately, without thinking. (I have a good story about a seasoned performer who actually answered his phone in the room!) I figure that, unless your wife is actively delivering your child, this is verboten.

Don't prop yourself up with props. Don’t use a prop in a scene unless you are totally comfortable with it. I’ve seen props totally befuddle some people.

If it’s a driving scene, you don’t have to actually “drive” the car.

If a scene asks you to pull a knife out of your jacket ... please don't do that in an audition. Especially if you don't tell the CD before hand. This could lead to furniture being toppled and a big producer putting you in a choke hold....

I have a really weird PERSONAL DON'T: Please don't shake my hand. I understand etiquette but if 30 people shake my hand in a day I get the Flu...or worse Chicken Pox.

For the women, at least for ME... please don't dress like a stripper unless you are auditioning for the role of a stripper. Likewise….a little make-up never hurts.

For The Men: I'm not going to have sex with you and you're not going to have sex with me so don't even TRY to seduce me into thinking you are a better actor than you are. Charm is good. Wit. Personality. But flirting in a creepy way is...well.. creepy.

KNOW the material. TEXT is important when a script is well written. If you have a monologue and then right after it the character says: 'sorry for that outburst'. Simple reasoning determines that the monologue was INTENSE in a way that makes the character apologize.... It's all in the TEXT.

If you believe you were kidnapped by aliens and taken to another planet. It's probably not a good idea to tell that to a CD in an audition...

Be nice and courteous to everyone. You never know: that receptionist could end-up being a director or producer some day. And the INTERNS definitely “rat-you-out” when you leave...the guy who used to CLEAN my toilets was nominated for an OSCAR 10 years later....

Please, please, please….go easy on the perfume/cologne. (this was pretty much the TOP request from all the CDs).

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What You Should Do in An Audition

We want you to bring into an auction what's unique with your own spin on it. Make a choice.

When we're casting we can see hundreds of people for one role. And generally many people end up giving the exact same reading as the next person.

We want you to find out what's unique in yourself and play those strengths.

It's your job to take whats on the page, pull it off, and give it another color. Even if it's a line, or a specific word that you punch—you want to make it your own. Then we'll sit up and pay attention.

That's what's exciting about casting. When someone comes in and they give a unique reading.

But, don't be different for the sake of being different. It still has to be organic to the piece and match the tone of the script.

Make it your own.

People always ask me, "What are you looking for when you're casting?"

Basically what we're looking for is truth — honesty.

I can tell when you're not committed to a scene—when you're not fully in it.

Know what it is that you're good at. Some people have a God-given talent for comedy, others are great at drama. Know your strengths and weaknesses.

Take classes. Train. Challenge yourself.

Making Choices

Don't be afraid to make choices.

Be bold.

Be gutsy.

Put your signature on it.

It's better to have a point of view, then do nothing.

Use these tools so you'll give your best audition ever!

~ Marci

Here are a few of the films I've cast throughout the years to illustrate how important the casting process is to the film.