How to Not Take Things Personally

You’re convinced you nailed a challenging audition, but at the end, the casting professional looks at his cell phone.

Someone who you believe has less skill than you lands the significant role for which you also auditioned.

You read a not-so-shining review about your theater performance in the local paper.

You make a bold choice in an acting class, and it’s met with an unexpected laugh by a classmate.

When such things occur, it’s easy to take them personally. Taking things personally hurts both your feelings and morale. But fear not; Frederik Imbo has got you covered.

Imbo is an actor who studied theater at the Royal Conservatory of Ghent and has several television credits. He is also the founder of the Belgium-based company Imboorling, which provides interactive training, workshops, and presentations to help people learn to communicate effectively. In the TEDx Talk “How Not to Take Things Personally?” Imbo assures the audience there are strategies to employ to lessen the impact of such deflating moments, and here are some of his insights:

Not taking things personally frees you
The part of ourselves that gets hurt and seeks to blame others is the ego, Imbo argues. “Our ego thinks that others should take us into consideration. Our ego doesn’t want to be criticized—hell no! Our ego wants to be acknowledged: ‘I’m right!’” But catering to the ego can deplete your energy. “When my ego takes over, I’m fighting all day. I’m in a constant struggle with the rest of the world, and it drains my energy,” he shares. “Wouldn’t it be so much easier to not take things personally? Because then no one has power over you. You’re free. You experience much more harmony and connection between you and other people.” Therefore he asks, “Do you want to be right or do you want to be happy?”

It’s not about me
What if the above-mentioned casting professional was waiting for an important text that just happened to be received at the end of your powerful performance? What if the classmate laughed after your performance because a centipede crawled past her shoe? What if that harsh critic in the newspaper had been in a fender bender right before your production, and it tainted his view of your performance?

To avoid taking things personally, shift the focus from “me” to “we.” “If I try to see the intention of the other one, I make space for understanding instead of irritation,” Imbo states. However, he acknowledges that seeing the positive intentions of others requires discipline and training. For this reason, once a week, Imbo works as a referee—and he’s sure to receive a lot of criticism during each game. “Now, before the match, I’m warming up. Not only physically, but also mentally,” he says. “I give myself some pep talk in the dressing room: ‘Frederik, watch out. Lots of things will trigger you during the game. You’re going to make decisions who some will not agree with, and they will shout unpleasant things at you.’ So I tell myself, ‘Frederik, don’t take it personally. It’s not about me. They just want to be right. They simply want their team to win.’ You see? When I focus on the intention of the other person, there’s no need to take it personally. When I apply this strategy very consciously, I admit it, I feel much more at ease on the field.”

Sometimes it is about me!
“When that strategy doesn’t work, it simply means it is about me!” he admits. In such instances, he needs to self-reflect and honestly question himself. “As a beginning referee, I still feel insecure. Especially me; I never played soccer. It is about me because it has something to do with my insecurity, my doubt about myself, or a part of myself that I haven’t come to terms with,” he says. Maybe that actor who you believed was lacking in ability had actually made long strides of growth over the past year or two, and now was able to capitalize on his or her strengths, largely by being open to feedback from instructors. Perhaps you underestimated him or her. “We can only take things personally if it somehow touches a raw nerve,” Imbo states. “And that’s the moment you give yourself some empathy.”

Give yourself empathy
Acknowledging the part of yourself that needs some growth can “give you a sense of peace and victory over yourself,” Imbo says. “At other times, it will be less easy and frustrating: “Ooh, this hurts. Darn! I’m longing so hard for recognition, and I feel sad if I don’t get it.” Instead of harshly judging yourself in such instances, be honest, but gentle and caring. “And most of all, be proud of the progress you are making,” he encourages.

Speak up
Another option is to gather yourself together and voice your feelings. “Just tell the other one what’s going on inside you,” he urges. “By opening up, by being vulnerable, by telling what you feel without blaming the other one, you increase the chance that the other one will understand you and take your needs into account.”

Your value always remains intact
No matter how difficult the road is, nothing will ever diminish your value as a person. Imbo concludes: “People may attack you, criticize you, or ignore you. They can crumple you up with their words, spit you out, or even walk all over you. But remember: Whatever they do or say, you will always keep your value.”

Want to get your acting career started? Sign up or log in to Casting Frontier and start auditioning today!

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Bryan Cranston’s Advice to Aspiring Actors

Bryan Cranston takes pride in the fact that he’s been a working actor for most of his life. Starting in the industry in his 20s, the Hollywood native believed there would always be actors with more talent than him, so he tried to have an edge on the competition by outworking them, as doing so was within his control. This attitude has certainly steered him well, earning him five Emmy Awards and an Oscar nod to date.

During a Team Coco interview with Conan O’Brien, Cranston responded to his Breaking Bad co-star Aaron Paul’s description of Cranston as one of “the most professional people” he’s ever worked with, but also “the most immature person” he’s ever worked with. Cranston laughed and said, “I don’t think they’re mutually exclusive. I think you can be sincere and have the things you want set up in your life, and enjoy it. Don’t take it too seriously; don’t feel you’re entitled to anything. You’re very lucky. And I think if you flow with that, you get the chance to goof around and have fun.”

The Malcolm in the Middle actor is known for giving sage advice to aspiring talent, and he offers some this time around as well. “I think it depends on how you were raised, the principles you stand by, I really do,” he asserts. “I tell actors all the time: ‘Get your personal life in order. If you really want to be an actor, you have to get your personal life in order so that you don’t flake out. You get your first job and you have a nice big paycheck, don’t go blow it on something. Put it away so … you can be an actor and make a living at it.’”

Cranston’s typical day as a leading man
Bob Odenkirk credits Cranston with helping him when he was set to front the series “Better Call Saul.” Odenkirk asked the star what his typical work day looked like while playing Walter White on the wildly popular “Breaking Bad.” Cranston advised him, “Here’s what you do. You get to set, you’ve learned your lines, you work. At lunch, you study your lines. You get to set, you work. You ask them to make you dinner, like a sandwich or something from the cart, and then you bring that home so you don’t have to make dinner because you need to work when you get home. And then you work at night, and then you go to bed. And then you do that again the next day. And then on weekends, you rehearse and learn your lines.” Odenkirk told Off Camera. “And that was reassuring. I mean I walked away from that going okay, right. You just work constantly and then you’ll be okay. And that’s what I did.”

No whining
Cranston doesn’t have the patience to hear actors complain about their jobs. He insists, “If you’re lucky enough to be in a business that you love to do, a creative one and you make a living, I don’t want to hear a complaint out of you. I don’t want to hear that you have to be there at 6:00 in the morning. We’re acting. Look at us. Every job that I work on where I lead the cast, I try to set that example. I don’t want to hear any complaints from anyone. There’s enough artistic frustration within—a joke’s not landing, this is not working, oh we need to recast because this didn’t work out. There are enough problems to deal with. You should not be dealing with any kind of problems of ‘I don’t want to be here that early,’ or ‘How late do we have to stay?’ Or some actors who don’t want to be off-camera for another actor.”

Separate acting from your personal life
The tools actors use to get into character are not necessarily helpful when applied to an actor’s personal life. Cranston cautions performers: “As an actor—and you’re trained to do this— you’re self-centered, and you should be. What does my character want? Who’s in my character’s way? How does my character get these things? What does my character feel about something? Actors find themselves in trouble if they take that self-centered nature that is good and works well for their craft, if they take that out into their personal life. What do I want? Who’s in my way?”

Want to get your acting career started? Sign up or log in to Casting Frontier and start auditioning today!

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How Understanding Writer’s Intent and Story Enhance Your Script Analysis Skills

If you were given the instruction manual for a new product but the manual was meant for a different product, do you think you’d have much success properly operating that product?

Not likely.

Holding a script that you haven’t correctly analyzed is like holding the wrong instruction manual or trying to navigate with the wrong map.

Imagine being handed a script for one scene in an audition but after reading it you deliver a read that’s different from the scene as it’s written. You wouldn’t purposely do that, but it happens all the time. Right now, there are actors all over the world misreading their copy, blowing their reads and as their chances of winning their auditions.

Here’s how to prevent this chronic actor ailment.

Writer’s Intent: The Blueprint

Let’s cut to the core of script analysis to get you the tools for understanding copy as the writer had intended it. We call this “writer’s intent” or “given set of circumstances.”

Writer’s intent is similar to the blueprint for a building project. If you don’t follow the blueprint during construction, the result won’t be what the designer envisioned. When telling a story on film, it’s the writer’s job to provide the roadmap or blueprint. It’s the actor’s job to stick to that blueprint, assuming you intend to bring the story to life according to the writer’s original vision.

Actors are always looking for ways to make strong and interesting choices to stand out. Making interesting choices is not a bad thing. However, it’s important to remember that interesting choices can’t conflict with the given circumstances and must line up with the story’s original intent. If these choices stray too far, they will prevent you from getting called back.

Remember: It’s not the job of the actor to change the blueprint, even if you think you’ve come up with something better. You must first understand what’s on the page before you can nuance it.

Audition Tip: Don’t Be a Critic

Never criticize or insult the writing during an audition (the writer could be in the room).

If you feel the writing is subpar and you’re still willing to audition for the project, then prepare something nice to say about the script ahead of time, such as “I’m excited to be working on this material right now.”

I often remind actors in my studio to consider the writer as the smartest person on the project.

More often than not, writers have worked hard and labored long hours over word choice, syntax, grammar and placement of punctuations. It’s out of this general respect for all the hard work committed that the actor should seek to honor the writer’s intent.

If you feel judgmental over the quality of the writing, you’re building up obstacles that can prevent you from analyzing the script and digging out all the nuggets.

Sometimes just believing that the writer is the smartest person on the project will open your eyes to things in the script that you hadn’t seen before. When that happens, you’ll end up elevating the writing through your performance. Just as bringing the character to life is your performance art, the writer’s art are the words on the page.

Script Analysis

Now that we’ve established that the script is the blueprint for an actor’s performance, let’s try reading this blueprint. In other words, we know that it’s the job of the actor to understand the writer’s intent, but how do we know what the intent is?
The process of figuring out a writer’s intent is called script analysis.

As actors, we need to be able to read a script and understand its ins and outs, its literal and suggested content, its text, subtext and detail. It’s our job as actors to decipher and relay to the audience what the writer wants to communicate through the story.

This is a tall order. For some actors, decoding and analyzing the story is intimidating. If this applies to you, don’t worry. We’ll take it step by step to help you become a better interpreter of copy, script and story. As a result, you’ll become a better actor.

Analysis Begins With Story

Any actor who’s studied with me knows that I reinforce that everything has always been and will be about story. Think about how we communicate in everyday life. “What’s your story?” “Would you like to hear a story?” “What’s the latest news story?” “Let me tell you what happened.” “Look at this picture.” “Check me out on Facebook and Instagram.” “Look at all of my photos, videos, blogs, and status updates.” It’s all story!

That’s how we’ve been constructed. We’re built to respond to story. Keeping this in mind, can you see how having a better understanding of story will empower you in your ability as an actor to tell stories? It should.

Let’s talk story.

There’s a general agreement amongst writers that there are a small handful of basic plot structures that always get reinvented. Some believe that there are only seven basic stories, others say it’s 12. Director Ron Howard states that there might only be one. Regardless of the number you come to, the bottom line is that there aren’t that many.

As an actor, it would greatly benefit you to learn these stories and become proficient at recognizing their patterns and identifying their structures. Doing so will help you with script analysis.

If you’re serious about diving deeper into this topic, read Damien Walter’s post titled Two. Four. Seven. More. How Many Stories Are There? Walter also provides resources for the monomyth theory (the argument that there may only be one type of story).

The more you dive into the research, the more you’ll find there is contention over the number of different stories there may be. Knowing the number doesn’t matter. Being educated in story structure is what matters. Take some time, do the research and learn the difference between a story that’s about overcoming a monster and a story about a journey. Having this knowledge will benefit you as you journey through the analysis of scripts.

There’s more to understanding story for effective auditioning. For now, the first step is to raise your awareness of script analysis and the writer’s intent. Don’t miss this because you want to focus on memorizing your lines.

Develop proper cold reading skills you can count on. Spend the little time you have before your audition on the understanding of the scene story as well as the character’s story. Doing so will take you much further than giving a memorized read. Take your time, put in the work and you won’t be that actor who doesn’t know what they’re talking about.

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Clay Banks is a former Fortune 500 Business & Life Empowerment Coach, a Motivational Speaker and Consultant. After a successful eighteen year acting career, he founded Clay Banks Productions & Studio International (CBSI) where he’s the Head Coach offering ongoing on-camera acting classes. He’s presently a recurring Master Coach at SAG-AFTRA Headquarters as well as a regular-guest Master Class Auditioning Coach with the American Academy of Dramatic Arts, Hollywood.

Want to get your acting career started? Sign up or login to Casting Frontier and start auditioning today!

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How Meditation Can Help Your Acting Career

When we hear the word meditation, certain images come to mind. For some, it’s that neighbor chanting “Om” at the top of their lungs. For others, it’s an immediate sense of calm, connecting yourself to the spiritual world while keeping yourself grounded in the physical one.

It’s easy to joke about these eccentrics, but there’s a reason the practice has endured for thousands of years.

Director and

Twin Peaks

creator David Lynch says, “Meditation is to dive all the way within. To go beyond thought and to the source of pure consciousness. When you come out, you come out refreshed, filled with energy and enthusiasm for life.”

We spend so much time focusing on the health of our bodies that we often neglect the health of the mind. Meditation has been a longstanding symbol of calm and concentration, but can this technique be useful in the complex world of acting jobs and auditions? Can meditation be a type of acting coach?

Here’s how meditation benefits an actor at all stages of their career.

The Science Behind Meditation

Through scientific research, the activity does a lot more than keep a person at ease.

Under meditation, activity within the human nervous system slows down. As the processing of information decreases, the production of gray matter increases. Gray matter is neural tissue that aids in the distribution of information. The more gray matter you have, the more powerful your brain is.

Recent studies have shown that during meditation gray matter accumulates in the frontal lobe area of the brain. The frontal lobe is responsible for strategy and problem-solving. Strengthening this area benefits several cognitive functions and changes the entire structure of the brain.

This is known as neuroplasticity.

Meditation Reduces Fear

Fear is one of the most common emotions that affect actors. Whether attending casting calls or preparing for acting jobs, thoughts of making a mistake can hinder a performance.

Fear begins in the almond-shaped area of the brain known as the amygdala. Once an emotional stimulus is detected, the amygdala signals whether a person should stay or flee. This tug-of-war between fight or flight is all too common for actors, but meditation can help prevent it.

In a Harvard University study, researchers conducted an eight-week meditation trial. Participants were asked to meditate for 30 to 40 minutes a day. At the end of the trial, researchers discovered a reduction in brain volume, with the amygdala area growing smaller.

Participants felt more at ease and less fearful of upcoming responsibilities.

For actors, it’s important to balance preparation with spontaneity. If you’re constantly afraid of making an error, you can’t concentrate on acting roles or casting calls.

Improve Memory With Meditation

Every actor must master memorization, but with so much to process during auditions and acting jobs, sometimes you just draw a blank.

This is where meditation comes in handy. Researchers at the University of California, Santa Barbara, had 48 undergraduate students take a meditation class four times a week. Results showed that the cortical walls of the brain grew thicker. Cortical thickness is associated with decreased aging and improved memory.

Students confirmed improved memorization abilities. During two weeks, their Graduate Record Examination scores —a standardized exam that is required by many schools for graduate admission— went from 460 to 520.

Meditation Eases Stress

It’s the night before an audition. You have to research the casting director, decide on an outfit and find someone to watch your cat. It’s going to be stressful.

The culprit behind stress is cortisol, also known as the stress hormone. Cortisol is released from the adrenal glands during times of conflict. When released, the hormone causes increased heart rate, blood pressure and respiration —three things a performer doesn’t need when pursuing acting jobs.

In this situation, meditation once again comes to the rescue.

A study in the Journal of Health Psychology shows that increased meditation slows down cortisol production.

During the trial, 57 people spent three months at a meditation retreat. At the end of the study, researchers measured a clear reduction in cortisol levels. Participants reported feeling less anxious and more energetic.

Focus on Acting Jobs

Whether it’s casting calls or acting workshops, focus is everything. With everything actors need to remember and accomplish, it’s easy to get distracted.

Meditation has long been associated with focusing one’s thoughts. Through breathing exercises, the practice helps regulate emotion and attention. However, recent research shows it’s more than breathwork that helps meditators focus.

A study by the Journal of Neuroscience examined 12 zen meditators who had been practicing for at least three years.

Researchers compared the meditators to a control group of 12 individuals who had never meditated. An MRI showed the meditators had more stability in their ventral posteromedial cortex (VPMC). The VPMC region of the brain is linked to spontaneous thoughts and mind-wandering.

As researchers tested the subjects with logic games, they found the mental focus of the meditators to be stronger and more reliable.

Getting distracted can sabotage acting roles. With its ability to stabilize wandering thoughts, meditation again proves to be a valuable resource for actors.

Sleep Better With Meditation

For some actors, sleep is a luxury. With auditions, acting jobs and a day job, it’s easy to neglect this important function. As we know, sleep deprivation causes major health problems. If not attended to, the personal and professional consequences can be dire.

Meditation is a powerful tool in promoting healthy sleep.

In a Harvard Medical School study, researchers examined 49 individuals suffering from sleeplessness. After practicing mindfulness meditation for six weeks, the subjects experienced less fatigue, insomnia and depression.

Sleep influences every aspect of our being. With the physical and emotional demands of casting calls and acting roles, regular, healthy sleep is essential.

Meditation Combats Pain

Actors are used to conjuring emotional pain, but a performance can be physically taxing as well. Long days with repetitive tasks can take their toll on a body.

Researchers at Wake Forest University suggest meditation.

The study found that mindfulness meditation reduced pain intensity in their subjects by more than 40%. This is impressive considering most pain-relieving medications, including morphine, only reduce discomfort by 25%.

Although meditation won’t cure diseases, its ability to reduce pain can help actors tolerate demanding situations.

Wrapping Up Meditation for Acting

It’s been said that frustration makes you more creative. That’s easy to say, but it’s another thing when you’re standing nervously in front of a casting director or acting workshop.

Although meditation may not work for everything, science has shown that it can have a significant impact on the human mind and body.

Think of meditation as another type of acting coach or a tool, then use it to ease your fears and help you find balance in uncertain situations.

Want to get your acting career started? Sign up or login to Casting Frontier and start auditioning today!

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A Complete Guide to On-set Do’s and Don’ts

Legendary screen actress Gene Tierney once said, “Eccentric behavior is not routinely noticed around a movie set.”

As much as we like to believe that a TV and film set has just as much drama as the story being told, it’s simply not true. A set abides by strict rules and a crew hierarchy, and it’s an actor’s responsibility to educate themselves on how to navigate this world.

Sure, you’ve worked hard and made it through casting calls and auditions, but that’s only the beginning.

Let’s review the dos and don’ts of on-set etiquette, and how to develop a strategy that will land you acting jobs for years to come.

Understand the On-set Hierarchy

Let’s face it, there are many ways an actor can sabotage themselves on set.

Whether you’re a lead actor or it’s your first project, understanding the cast and crew hierarchy of a TV and film set is essential. You don’t want to be at a crafts services table and push over the producer just to snag the last eclair.

Think of a set as a universe, where each department is its own world with its own rules.

Take time to educate yourself about the on-set chain of command, what each role does and how it contributes to the greater production.

By understanding your business, you’ll reduce the chances of committing a faux pas and set yourself up for more acting roles in the future.

Listen to the Director

Yes, we’ve all heard stories of difficult actors making the lives of their directors miserable.

As much fun as it is hearing these sordid tales, the reality is the practice is detrimental to both actors and on-set productions.

Digital content production and movie sets involve complex components. This is why an actor needs to trust their director.

If you’re constantly second-guessing the director, you could be compromising vital takes that will stall production. To avoid this, never stop a take because you made an error.

Of course, you need to be invested in your character, but many factors could be affected by the disruption. Always continue the scene until you hear “cut,” and remember, unless there’s an emergency, only the director should call “cut.” At that time, you can confer with the director and discuss the matter (they may like the mistake more than the planned take).

When in a conference, be gracious about notes. If you still have reservations, request an additional session to discuss further. There are going to be directing styles you don’t agree with, but be polite and remember that frustration fuels creativity.

Punctuality is Key On-set

Sometimes there are moments of crisis that lead to lateness. That being said, punctuality though is vital for on-set productions.

Regarding time management for casting calls and auditions, casting director Lucy Bevan says, “Be disciplined. Come in cleanly, leave cleanly.” The same holds for acting jobs.

Always arrive early. Use the advanced time to warm up, review your lines and prepare for any questions you have for the director.

You may think, “I’m just a background actor. Will they notice if I’m a little late?” Your part may seem minimal to you, but chances are it’s integral. Your absence could have severe consequences for the production.

To minimize this risk, avoid drinking alcohol the night before and make sure you get a good night’s sleep. If you have trouble sleeping, take author Tim Ferriss’ advice and try drinking decaffeinated tea with raw honey and apple cider vinegar an hour before bed.

Ferris says the concoction induces deep, restful sleep and should be a part of any actor’s on-set arsenal. There are also online casting resources that offer helpful advice for actors to stay focused. When it comes to on-set productions, the classic adage is true: better to be too early than too late.

Be Mindful of Equipment On-set

We’ve all seen the image of a director gazing through a camera lens. You may think they won’t mind if I take a quick look. If you want to ensure obtaining acting roles in the future, it’s best to stay away.

Not surprisingly, equipment on set is expensive and requires a trained technician to operate it. Perhaps you notice a grip moving a light and decide to help them. What you perceive as help, they perceive as interference.

Remember, these are working professionals who are likely union members. They have specific rules of who can and cannot handle equipment on set.

Be conscious of “Hot Set” signs. These signs indicate that furniture and props have been positioned for an imminent scene, and moving them would compromise continuity.

Last but not least, never pass in front of the camera. Always cross behind, unless you are in rehearsal or shooting. You may think a camera isn’t rolling, but your ignorance could jeopardize a shot or elaborate setup.

In relation to this, a camera is sometimes connected to a monitor only for cast and crew members who have been invited to view it.

As you can see, whether it’s digital content or TV, on-set productions are complex. Rather than negotiate who might or might not be receptive to your good intentions, it’s best to avoid touching equipment and props altogether.

Know When to Be Quiet On-set

Although this probably goes without saying, good manners are essential for acting jobs. Unnecessary noise is one of the things successful actors avoid.

On a TV or film set, silence is golden. It’s always important to be aware of where the rehearsal or shooting takes place so you can keep your distance.

Speaking of silence, nothing makes a cast and crew want to chase you out of a building than a cell phone going off during a shot. Make sure your phone is silenced before every take. Avoid all personal or social media photography on-set.

Network During Your Free Time, Not On-set

Considering that a recent study found that 70% of all jobs come from word of mouth, networking is important for acting jobs. Although sets can be great places to make the necessary connections, there’s an appropriate time for these interactions to occur. It’s important to restrict networking to meal and break times.

Now, we’ve talked about how vital it is to avoid disruptions on set. If you’re constantly trying to schedule a drink meeting while a costume designer fixes their Yeti outfit, chances are you’re hurting yourself for future acting roles.

It’s fine to network, but don’t allow your actions to compromise the progress of the production.

Report Any Unsafe Conditions

Typically, sets are built for temporary use. Unfortunately, sometimes this results in materials that may pose a hazard for cast and crew. If you come across something that seems dangerous, make sure you abide by the on-set hierarchy and notify your direct point of contact.

Besides the risk of injury, the producer wants to avoid a liability that could cost money and delay production.

Check-in and Out

Finally, always check in and out with your point person on set. Depending on the size of the production, this could be either the assistant director or the director.

If you need to leave for any reason, make sure you notify the appropriate personnel, then confirm with the individual once you return. The last thing you want is for the crew to be scrambling to find you because of some new development.

Wrapping Up On-set Etiquette

Dakota Fanning once said, “Often on a set you’re cold, hungry, tired and it’s still dark out. And yet, there’s no place I’d rather be. It’s the happiest I am, and the most confident.”

On-set productions can be frustrating and intimidating, but being mindful of these dos and don’ts will help you be evermore successful in your future acting jobs.

Want to get your acting career started? Sign up or login to Casting Frontier and start auditioning today!

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The Three Pillars of Comedy: The Tools that Build a Successful Sitcom

A successful sitcom is like a big house filled with funny, topical storylines, memorable, identifiable characters and a plethora of laugh-out-loud jokes. Just think of I Love Lucy, Friends, All in the Family, Seinfeld and Modern Family, and how hysterically these sitcoms are written and acted.

But what holds up these houses of humor?

Well, like a house, a sitcom needs strong, structural support beams to hold it up, keep it sturdy and reinforce the funny storylines, characters and jokes for years to come. I call these support beams “The Three Pillars of Comedy.”

As comedy comes from pain, The Three Pillars of Comedy are derived from Conflict, Desperation and the Unpredictable. For actors and writers, these darker components will shine a bright light on helping you write a funnier storyline, create a funnier character and deliver funnier jokes.

Conflict

Storyline: Every storyline needs conflict—and lots of it. Without conflict, there is no drama and, without drama, there is no comedy. That comedy comes from the conflict in the storyline, which centers on the clashing of two opposing sides (their beliefs, cultures, philosophies, personalities, cupcake recipes, etc.).

In every sitcom episode, there has to be at least an A storyline and a B storyline, where a character specifically wants something but faces what I call External Obstacles. These External Obstacles are clearly defined in the story as a “force to be reckoned with.” It’s that person, place or thing preventing the character in the A or B storyline from getting their Want. And it’s that obstacle, however absurd, that creates the conflict (the funny) in the story.

Characters: A character without conflict is boring. In every storyline, characters must either face conflict as they pursue their Want or be the conflict for another character’s Want. If there are two characters in a scene, each of them will have a Want, and each of their Wants will be the other character’s external obstacle.

You can also find conflict within your character, what I call Internal Obstacles. Internal obstacles are defined as those conflicting thoughts and emotions such as doubt, insecurity, embarrassment and fear, which try to self-sabotage the character from getting their Want. As an actor or writer, infusing this source of conflict within your character will make that character funnier and more complex.

Also, at one point or another, every character will be the source of conflict for another character, thus becoming the “voice of reason.” There is one character of the Eight Characters of Comedy who is a living, breathing source of conflict, and that character is the Logical Smart One.

It’s also important to note that conflict arises from putting two of The Eight Characters of Comedy together (such as the Neurotic and the Dumb One, or the Womanizer and the Lovable Loser). But more on that later…

Jokes: Conflict gives birth to a very specific type of joke that has been around since the vaudeville days. Conflict plays a major role in the creation and performance of what I call The Turnaround Joke. The Turnaround Joke is when two pieces of dialogue, which are in direct conflict with each other, come together. When a positive piece of dialogue or action is followed by a negative piece of dialogue or action (or vice versa), the clash of these conflicting forces produces a spark. This spark is the joke that makes us laugh.

Desperation

Storyline: Desperation is what drives the character’s Want in an A storyline and B storyline. The storyline will revolve around a single character desperately wanting something, the obstacles they face and the clever, humorous tactics they use to try and get their Want. I call these storylines the Lovable Loser Storyline. It comes from The Lovable Loser character’s defining trait of desperation. Any of The Eight Characters of Comedy who are driving the A or B storyline will step into a hopeful, desperate Lovable Loser Storyline.

The greater the desperation in a character’s Want, the more conflict the character will be in, and the funnier the story. Whether the character wants to find true love, a better job, a new apartment, courtside seats for the Lakers, or just peace, they pursue their desperate attempts wholeheartedly, with great optimism.

At the end of the storyline (or episode), the character—more often than not—fails in getting their Want. Sometimes, however, their desperate attempts pay off and they do get their Want. If they do succeed, they’ll find they didn’t want it (or need it) after all. Either way, they learn something from it. But that doesn’t stop them from trying a new approach (equally desperate) the following week. There is something inherently funny in watching somebody (like ourselves) who hopefully and desperately attempts to fulfill a Want, a wish, or even a lifelong dream.

Characters: Desperation is the adrenaline that fuels the character as they pursue their Want. That desperation is derived from various places, such as the character’s history and temperament. This adrenaline energizes sitcom characters, making them slightly heightened, whether it’s a single or multi-camera comedy. When a character incorporates this desperation, it is then complemented by other more positive characteristics such as endearing, hopeful and vulnerable. It is what keeps the desperation funny, thus keeping a comedy from turning into a drama.

When a character has a strong Want, high stakes and a heightened sense of urgency, this helps establish the timing, rhythm and pace of the show, bringing to life the Golden Rule of Comedy, “louder, faster, funnier.”
The character that fully embodies this desperation is The Lovable Loser, a sitcom’s comedic hero. If The Lovable Loser is the lead of a sitcom, they will always find themselves in a Lovable Loser Storyline.

Jokes: As desperation is found in the storyline and characters, it also manifests itself in the writing and the delivery of the jokes. Desperation is one of the underlying components in all jokes, setting the tone, as well as the rhythm and pace, of any sitcom. This is true whether it’s a multi-camera comedy, which would have more of a setup/punchline format, or a single-camera comedy, where the jokes come quick and fast.

Whether the jokes are derived from a character’s feelings of great insecurity, great irritability, or just from simple naïveté, desperation informs every joke. These jokes are written and delivered because the character needs to say them (many jokes come from a character’s pain). These jokes are found in the dialogue, actions and circumstances (i.e. what the characters are saying, doing and what’s happening to them as they desperately pursue their Want).

The Unpredictable

Storyline: The element of surprise is at the heart of any successful sitcom. In terms of storyline, the unpredictable is what keeps us laughing out loud and tuning in week after week. We know the character will want something desperately and will pursue it with comedic gusto. What we don’t know is how they’re going to go about getting their Want, what will stand in their way, or what will happen if and when they do get their Want. If Boy wants Girl, we know Boy will pursue Girl. What we can’t predict is how he’ll go about it, what obstacles he’ll face and how he’ll screw it up.

Characters: In sitcoms, there is an inherent, unpredictable nature to all comedic characters. What makes a good sitcom character is a funny writer with a fresh, humorous perspective on human nature, and a funny actor who brings their own life experience, essence and unique spin to the role. As you will see, each of the Eight Characters of Comedy has room for interpretation, a distinctive “take,” which will naturally make them unpredictable.

That being said, there is one character who is a walking, talking personification of the unpredictable and that is the In Their Own Universe character. However, it’s important to note that each character will come with its surprises. For example, if a Logical Smart One is given an A or B storyline, they could take on the characteristics of another character, like The Neurotic (anxious, over-thinking, fussy) in the desperate pursuit of their Want.

It’s important to note, that there is also some humor to be derived from “The Predictable,” especially regarding characters that we are familiar with and have grown to love. We know them and their personalities so well, and we look forward to their funny reactions or their particular style in delivering jokes.

They are so well-defined in our minds that we know what they say or do is going to be hilarious. But where the element of the unpredictable comes into play is that we don’t know exactly what it is they are going to say or do to make us laugh.

Jokes: Jokes are built upon the element of the unpredictable. One particular joke that encompasses this unpredictability, which goes back to the advent of sitcoms, is what I named a Triplet. Triplets are based on the theory that a joke starts by establishing a familiar pattern in the dialogue or action which lulls us into a sense of comfort, as we think we know what’s going to happen next based on that pattern. Then, we are suddenly thrust out of that comfort zone when that pattern is broken or disrupted by something “unfamiliar” (the joke) at the end.

We might know that a joke is coming, but we can’t predict when, what it’s going to be, or, even more importantly, how clever. We also can’t predict the speed, volume, intensity or intention of how the actor will deliver this joke.

As you can see, there is a lot that goes into building this sitcom house. You need to have The Three Pillars of Comedy working together to support the continued success of a good sitcom.

You cannot remove any one of them from the equation. Conflict, Desperation and The Unpredictable will serve as the basis for most, if not all, of the humor in any sitcom. They all need to be present in the storylines, characters and jokes.

Again, you can’t neglect any of those elements either. You can’t have a brilliant storyline with weak characters and jokes. The Three Pillars of Comedy will hold up your sitcom house and reinforce it episode-to-episode and season-to-season.

Let Casting Frontier be your partner in your acting journey. Sign up or log in and elevate your career!

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Whether you’re auditioning for a co-star or a series regular on a half hour comedy, sitcom guru and acting coach Scott Sedita will teach you The Sedita Method of sitcom acting, which comes with it’s own terminology, coined phrases and unique glossary.

Scott’s internationally best-selling book, “The Eight Characters of Comedy. A Guide to Sitcom Acting & Writing, 2nd Edition” has sold over 100,000 copies and has become a “bible” to Hollywood comedy writers, directors, producers, and actors and is used as a textbook in over 100 colleges and universities. Find Scott and his staff of professional actors, teachers and coaches at ScottSeditaActing.com.

Want to get your acting career started? Sign up or login to Casting Frontier and start auditioning today!

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• Booking Without a Callback
• Steven Pressfield: Amateur vs Professional
• Three Tips to Succeed This Episodic Season

Three Tips to Succeed This Episodic Season

Episodic season is the time of year when the episodes of many TV shows are being cast. With TV pilots now sold and the leading actors hired, the casting of recurring roles, guest stars and co-stars begins.  This is when working actors have a chance to get really busy.  This is the time when you want to prepare to get into the audition room and nail it.

But how exactly does one do that?

Here are three tips that can help. Let’s start with:

1) RESEARCH.  

When researching an already existing show you can watch the show to see what its style and characters are like. Sometimes, as in the case of new series, the shows haven’t yet aired. Here you are tasked to figure out what the tone of the show is, what the world is, and what the style will be like just from a few script pages.  This is where you can make a huge mistake, simply because you can’t get familiar with the specifics of a show that doesn’t exist yet.  It’s like getting an invitation to a party, without telling you what kind of party it is.

Where do you start?

Look at the Script. Gather as much information as you can from your script. You can ask your agent or manager for any additional information, or to get you a copy of the entire script so you can read it and find out how and where your scenes fit in to the overall story.  But if you can’t get the whole script, work with what you have. Pretty common sense, but what else can you do?

Be a detective. One way to gather a lot of good “intel” on a role is to look up the show creator and his/her style in the present or past projects.  Watch their shows.  What is the style of portrayal– realistic, low-key, stylized, quite broad or theatrical?  What sorts of characters do they place in their worlds?

If the show is a comedy, can you get a clue as to their sense of humor?

Consider if any of the style points you have noted will translate to this project and see if you can find a way to integrate that into your audition. You will stand a better chance of fitting into this new story if you are able to operate within the same basic creative approach.

2) CREATE A UNIQUE CHARACTER

Strive to make an interesting choice.  You will have much more impact if you present a role in your own unique way, different from what anyone else might bring. Your audition will stick out from the crowd if it is unique, not a cookie cutter duplicate that others are also likely to present.

Ask yourself what about the role interests YOU and what can you bring to it that no one else would. That’s what casting agents mean when they ask you to “make bold choices.”

Be specific with your character. What do they like, don’t like, what is their viewpoint on things? Create a real person with a life and then live that life in the script.

3) BE READY FOR ANYTHING

Take the stress out of it. Leave plenty of time to get to the audition, to park and prepare yourself to go in—so you are not feeling rushed. Often at an audition, unusual things will happen that you couldn’t have predicted at home; script changes, last minute character adjustments, phones going off in the room. Be ready for what may come up.

Have confidence in what you are doing. Through research and drilling, be so ready with your choices that nothing can shake you. If you are prepared, and understand the world of the show as much as possible, even if they don’t cast you for this one, you will stick out in their minds for the next project.

Present yourself as a professional, they will at the very least come away knowing that, and that’s the kind of impression you want to make on casting agents in this, and every season of your career.

 

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The Acting Center helps actors to gain control over their work, teaching them to rely on their own instincts, imagination and choices. Our scene study and improv classes produce confident actors who bring an original voice to every production.

In fact, the most distinctive thing about an Acting Center student is how different each one is. We train actors to speak in their own artistic voice—producing characters that are rich and layered. They become the artist they always wanted to be.

Theater, television and film are all collaborative mediums, so an actor must work well with other actors, directors, casting directors and many more. Our technique trains them to do just that! That’s why directors love to work with Acting Center students.

Want to get your acting career started? Sign up or login to Casting Frontier and start auditioning today!

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The Callback vs. The Shoot

The Callback vs. The Shoot

I have been teaching commercial acting for over 20 years and auditioning for over 40 and have never figured out a way to teach actors how to work on set.

I have found numerous techniques to hone their skills in the audition room. I have created techniques on how to stand out and be noticed for good solid work. I have even found ways to recreate a callback setting so actors can deal with the nerves when a job is at stake.

But being on set is its own beast. I am going to give my sage advice on things to do and things to avoid once you have booked the elusive job.

Let’s start with the fitting

I strongly suggest you come dressed as an option for the role. If they ask you to bring some wardrobe choices to the fitting, bring a few. You don’t need to bring your entire closet, just one or two strong choices, and wear one of them to the fitting.

Make sure your hair is washed and you wear makeup or come as if you were going to the callback. I have seen people lose the job after being cast because they are so casual or unkempt and that is not how the CLIENT sees the character. You should always present your most cast-able self anytime you are around those hiring you.

Often what I wear to the fitting is selected for the job. Make sure you wear nude underwear or things that will not detract from the outfits you will be trying on. I suggest pantyhose for women because they may have you change behind the clothes rack or some other makeshift dressing area.

Great! On to the shoot day..

First: Get to the set at least a half hour early. Walk around and say hello to people. Introduce yourself. Have a bite to eat and relax in the setting. Find a place to drop your things in your room. Note that often nowadays there are rarely separate trailers for actors —especially on commercials. Budget cuts and the like have impacted this. So find a spot where you can put your stuff down and travel light. Bring a phone, a book and maybe some comfy shoes… that is it.

Second, Get to know the names of the AD (assistant director) or second AD who will be signing you in and monitoring your whereabouts. Let them know where you are so they can find you. Nothing irritates them more than looking for you when they need you in makeup or on set. The more you can know the names of the folks working on the shoot, the better and the more comfortable you will be.

In all likelihood, one of the first things you will do is sign your contract. ALWAYS SNAP A PHOTO OF IT and send a copy to your agent even if you think it is fine. Should there be any discrepancies, you’ll want your agent to work them out. You are there to act, to create and to be of service. Let the agents negotiate on your behalf.

Be kind, respectful and professional. Have your photo ID, passport or social security card handy for them and any other paperwork you need. Know the address of your agency. You can always download contracts online and practice filling them out so you look like a pro.

SIT AROUND AND WAIT

Yes, they called you at 6:00 a.m. but don’t get around to shooting you till 3:00 in the afternoon. It does happen. This is where your patience and professionalism must come into play. You CANNOT complain. They are paying you for the day and you are to be ready and energetic when they call you to the set. Do whatever you have to do to stay focused.

SHOOTING

When the 2nd AD calls you to the set, be ready to go. First, they will do a rehearsal with the director and the DP (Director of Photography) to see how they are going to shoot the scene. Give your all in the rehearsal. This is where they can see what will work and what won’t.

Don’t hold it back for the actual shoot as they may not know how to cover it. Drop the ego and listen to what all of the moving parts are. They may need to make changes because of lighting, or cast, or angles. This has nothing to do with you, but it will affect what you do in the scene.

LISTEN.

Then they may ask you to step away while they light or set up the scene.

Stay close by and make sure they know where you are. Keep your energy up and pleasant and be respectful of the others doing their equally important work.

They usually start with a wide shot, covering the whole scene. Still, give it your all in every take. Be open and available for notes from the director.

Be open to listening to the assistant director as well because the director will frequently tell the AD what they want from you in the shot.

After they have THE WIDE…

Then they will come in closer, for perhaps a two-shot or just another angle. Things may adjust. They might pull out the table that you had in the scene because they need to get in closer with the equipment. People are all around sticking things in your face, light meters, make-up people with powder puffs or maybe you are sweating and the makeup person is nowhere to be found. Don’t be afraid to quietly ask the AD if the makeup person is close by because you feel shiny.

Be open to the notes, because if and when they do several or many takes, it is often other factors such as lighting, camera or focus that are causing them to do so many takes to achieve the desired effect. You want to keep it fresh and new as if it was the first time you said it, but unless they suggest it, keep doing what they asked for.

If the director seems to be reaching for something in your performance, try it. Repeat what the director said in a playable action. If the director says, “Let’s speed it up.”, you can ask, “So more urgency?” Or if the director says to take more time, you can ask, “So languish in the moment?” This way, you are collaborating with the director and giving yourself something playable to do.

Often the producer or clients will have a way they want to try and it doesn’t mean what you were doing was wrong; they just want to have options to look at in order to pick the right one for the spot, film or episode.

I AM READY FOR MY CLOSEUP

This is where most actors fall apart. Something about the camera being up close and personal gets them all shook up. Remember who you are talking to and what you want and try to anchor yourself with something or someone.

You might be looking at a blue piece of tape when before in the wide shot you had an actual person or something real to look at. Now you have to have the same reaction with a piece of tape. Use your memory or emotional recall to capture the picture in your mind’s eye and make it as believable as you can.

Want to get your acting career started? Sign up or login to Casting Frontier and start auditioning today!

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About the author: Judy Kain is an actress who has been in over 400 commercials. Her television credits include recurring roles in The Odd Couple, Hand Of God and The Fosters. Judy owns Keep It Real Acting Studios in North Hollywood.

Seven Signs You Have A Professional Acting Career

I’ll never forget the eye-opening moment when I was asked by an agent whether or not I wanted to be an actor. I was crushed. After all, this was years into my ‘career’ (or what I thought was my career).

As difficult as it was to have that question asked, it changed my perspective. It made me realize that there is an industry standard and that – maybe – I wasn’t playing my cards right.

Now, I look at things differently. I learned to judge my work from the viewpoint of someone who would want to hire me.

Becoming a professional actor is all about a series of step-by-step accomplishments, much like in a college program. It will take hundreds or thousands of hours of studying, preparation, application and practice to get to a professional level. The actor hobbyist and the professional are vastly different.

Curious to know which category you fall under? Here, I’m going to provide some qualities that all professionals share to move forward and ultimately… make money.

1. Getting paid for your work

I would say that the first time you get booked for a paid project through an agent is a pretty good indication that you are on your way to being, or already are, a professional actor! Having said that, don’t skip out on your acting training just because you are booking work. Continuing your education feeds your momentum. If you’ve been working but haven’t taken a class in a while, consider taking something new to you or something that will strengthen a big weakness of yours.

2. You have a professional headshot

A portrait session with a reputable photographer (recommended by your agent or manager, most likely) that produces at least one theatrical headshot and one commercial headshot is essential. A simple black border with your name at the bottom (legibly- i.e. not in cursive!) will suffice. A selfie or Instagram photo will instantly make you less of a professional. And it could seriously damage your ability to book.

3. You have an Agent and/or ‘Team’

A top requirement to become a professional working actor, right after your training, is having a quality agent. Although the majority of your work should come through them, you may also find work yourself, and most actors are constantly looking. Try a range of agents until you meet one that jives with you and understands your goals.

Not all agents are created equal! One agent may not be enough, however, and you may require a manager, publicist, lawyer, PR agent or more to be adequately represented. You may also choose to have different agents representing you in different areas (one for voice, one for theatrical, one for commercial, one for print, one for stunts, etc). The more helping hands you have, the greater the chance for success.

4. You invest in yourself

Acting is an investment. Headshots, acting websites such as Casting Frontier, classes, etc. all take a significant chunk of change to maintain. However, those who take their careers seriously do not skimp on ways to further their careers. Of course, some things you can do on your own, such as social media updates, or maybe even writing and producing your own productions (Ben Affleck or Matt Damon often do this). Use your voice to create what you want to see in the industry.

5.You put acting first

This comes off as a simple one, however, it is far from it. Auditions happen fast, with little notice and often with high expectations. An actor who is constantly missing auditions, requesting a change of time slots or is available with limitations such as: only on weekends, only on nights or only during the day, may not be cut out for a position in the film industry. Give yourself the best shot possible, and that means putting acting first.

6. You’ve found your ‘sweet spot’

Many people struggle for years with good acting talent, or having a ‘look’ that is not in demand. You may find that your hair color or length is not catching the attention of professionals. For example, commercial spots love a good haircut shoulder length and above. If you’re not getting in the door, something may be off with your look or may not be on trend. Actors do not always get the perk of looking exactly how they want. Professionals learn to find their best ‘looks’ and stick to it.

7. You know how to fake it ’til you make it

That’s your golden ticket and your secret weapon. When you walk into the audition room, every casting director expects a professional regardless of experience level. A professional actor knows the rules of the casting room and is courteous. They keep their nerves in check, study the scene before arriving and are familiar with the script. If you’re a pro, you know how to slate well and have possibly seen the director’s previous work. These little things will make big impacts on the individuals you need to impress.

Whether you are a professional, aspiring, or acting as a hobby – remember to keep pushing forward, keep studying and keep showing up. Work on your positivity, support your industry peers, embrace your competition… and always, always be fearless!

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Taylor Tunes (too-ness) is an actor located in Arlington, Texas.

Want to get your acting career started? Sign up or log in to Casting Frontier and start auditioning today!

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Listening is Key: What Directors Look for From Actors in Auditions

I was speaking with a group of television and film directors and asked them what are the top 3 things they look for when watching actors audition. One of those items we agreed was essential: “listening and reactions.” Here, we’ll dive in and discuss why that is.

The reason was explained this way: Scenes are put together in post-production. Until that time, it’s not entirely clear when the director is going to need a reaction shot from an actor to liven up or help explain a scene. So in the audition, they’re looking closely to make sure that the actor doesn’t go flat – even for a moment – because that may be precisely the moment that your reaction is needed when a scene is being constructed.

They tell me that if an actor gives a solid reading, it’s obvious they know the requirements of the material and are skilled at bringing the words to life – even if it’s not exactly what they envisioned. On top of that, the actor has reactions that spark with honest, energetic life.

They’ll hire that actor over the actor who came closer to their vision in the reading but didn’t listen and react as well.
They figure that you can always direct a good actor to say a line differently, but it’s not as possible to direct them to be more compelling in their reactions.

As one of the directors said, “It’s like telling someone to be more interesting – and we don’t have time for that.”

They also agreed that in an audition, the focus and stillness that deep listening brings draws them into the reading and allows them to become fully involved with the actor’s emotional life through the intensity of their reactions. This makes them feel that they are already working with the actor.

This is in stark contrast to the actor who isn’t as focused on listening and reacting. This actor not only doesn’t draw them in, but they also appear to be reading at them, not speaking and listening with them.

Another positive benefit of deep, revealing listening appears when/if the audition is being taped. When directors are watching taped auditions it’s a two-dimensional experience. The actors who become contenders for the role are the ones who feel as if they are actually in the room with them.

These are the actors whose listening is so specific and powerful and whose reactions are so alive and original that they bridge the distance that the technology creates so that even if the director is watching them on an iPad in New York, they feel the actors’ specific energy and spark.

In order to have these jobs getting moments of reaction, you need a way of working that allows you to have the confidence to take the moments and to live in them. Most actors speed through the piece believing that it’s only their words that matter, and yet any director will tell you that it’s the reactions that are the actions of the scene.

Watching someone talk is not half as interesting as watching how those words are affecting another human being. It takes awareness, skill and guts to work this way – but it’s the only way to work if you want to book the job.

In closing, it’s good to remember that strong listening and reacting are not things that you can just pull out of thin air. The body goes to what it’s used to – and if the body isn’t used to the stillness and focus of listening in your daily life, it won’t go there in your work.

Paying attention to someone to the degree that you take in their words and feel them on multiple levels is actually pretty rare. Most people have mastered the art of “half listening:” listening just hard enough to plan their response. That’s not the type of listening that prompts the reactions that get jobs.

Practice in your daily life. Make a commitment to take people in as deeply as possible. See if you can turn your brain off and listen from the neck down. Feel your reactions in your body and let them pierce your heart.

As you continue to do this, you’ll find that your body will start to relax into a still, focused and open-hearted place that you can now access not only in your life but in your work.

And when this happens in your work, the people in the room will not just hear you but see you.

Remember, it’s the eyes that are the windows to the soul – not the mouth.

As we were wrapping up the discussion, we decided to see if we could create one sentence to sum up the importance of listening and reacting in the audition. Here’s what we came up with:

What you do with the words will get the director’s attention – but it’s what happens in your reactions that will get you the job.

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Craig Wallace’s background in script development combined with his 20+ years of coaching actors enables him to find the job getting moments that others miss. His expertise in breaking down text and years of coaching experience has made him “L.A.’s go to private coach.” Sign up for his group or private classes at wallaceauditiontechnique.com

Want to land your next great acting role? Sign up or log in to Casting Frontier and start auditioning today!

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Tips For Kids To Win Auditions

 

You know the expression “kids say the darndest things”? This is where the spontaneous, organic personality of the child can win them the job. Interview questions are almost always asked when a child auditions for a commercial, TV show or film. There is no copy for them to learn, no scene to play. You’re just asked random questions by the session director, casting director or director. The goal of this is to observe the child’s personality.

I dreaded this type of audition, and for years I never booked one. I focused obsessively on the questions, and agonized over my answers.

One day, a session director told me that the director and clients often watch these auditions with the volume turned completely off. Immediately, I realized the purpose and potential of the random question. It’s all about our personality—how we come across on camera.

Using this nugget of information, I changed my whole approach to this audition.

Since it’s your personality that they are looking for, I needed something to talk about that turns me on, that I am passionate about, something I can discuss fluently without worrying or running out of specific details.

Now I always talk about one of three subjects that make my eyes and face light up: hiking, my son, or my dog, Sparky. To sail through the interview question audition with ease, you must approach it the same way: The child should have three things that he or she is passionate about, subjects that they can talk about easily and effortlessly and in detail. The details let’s the child’s personality shines through. Here are some ideas:

• Your favorite game or at home activity
• An anecdote about a family member
• A story about your pet
• Foods you love or hate

When asked a question, find a quick way to segue or transition to talking about one of your favorite subjects.

Keep your answers brief, but detailed and specific. The more details and specifics the child can add, the more the personality comes out! The truth is, they are just trying to see your personality on camera.

Beware of three taboo subjects—avoid this at all cost.

Acting

They want you to be an actor and a skilled one but do not want to hear about it. They secretly think they are discovering you in the local farmers’ market and putting you in their commercial campaign.

Politics

Politics are just too controversial and should be avoided at all costs. Even if you’re running for senate, leave it alone! This should not be a problem for most kids anyway.

Religion

Anything having to do with religion is generally taboo.

Kids who can relax and just get chatting about one of their subjects or a funny anecdote always are remembered, as being memorable is the key helping you get booked for jobs

The beauty about this technique is that you never have to think about the answer because you already know it.

Practice this technique with some of these commonly asked questions and see how it works for you:

• What was your favorite vacation?
• Do you have any hobbies?
• Any plans for the summer?
• What’s your favorite subject in school?
• What is your favorite ice cream flavor?
• What do you do when you get home?
• What kind of foods you love?
• What kind of foods you hate?
• Who is the most important person in your life?
• What is your most treasured possession?
• Which is your favorite TV show?
• If you had a super power, what would it be?
• If you could meet anyone dead or alive, who would it be?

The answers should never sound prepared or rehearsed, but spontaneous and honest. Why? Because kids do say the darndest things!

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Judy Kain has been a full-time actress for over 35 years, appearing in over 80 television and film roles and 375 commercials. Judy teaches her successful audition technique to thousands of students at her Los Angeles studio, Keep it Real Acting. Judy has won multiple awards, including Backstage Magazine’s 2015 Readers’ Choice Award for “Favorite Audition Teacher.”  Her latest book –  I Booked It!: The Commercial Actor’s Handbook – teaches readers practical techniques for booking acting jobs.  Available now at Amazon and through her website, keepitrealacting.com.

Availability & The Working Actor

Are you available? Wait. Before you answer, you might want to read the entire blog.

Every actor I meet tells me they are 100% available to audition and to work. But then when some of them get the call, they are either not available at all or need a reschedule. Sometimes this is possible but most of the time the casting director needs you when he or she makes the request. A lot of parts are cast in one session. And why look at tape when I have a dozen amazing choices standing right in front of me in the flesh? We can adjust them. We can pair them up. We can even mix and match. Most importantly, we can chat a little and get to know you for thirty seconds. Thirty very important seconds.

You’re not available for my projects unless you live here. Here’s why.

I used to travel to Scottsdale, Arizona regularly to conduct classes and seminars. Each time I stood in front of the class they almost unanimously stated that they could be as easy to hire as actors from Los Angeles. That was a pretty unrealistic promise but since some of them worked for airlines I gave it a shot. Some of them actually showed up on time and were very professional. The trouble popped up when I needed them to come out two days later for the callback or two weeks later to read for another role in a different episode of my TV series. That first trip out was the charm but the L.A. actor shows up over and over without difficulty.

And then there is the issue of the holidays.

The problem of availability just came up on a feature I was producing last December. I needed to hire a couple of actors at the last minute. They wouldn’t need to audition. They just had to show up. Shouldn’t be a problem, right? But I was looking on December 18^th for them to work on December 21^st. I reached out to several actors and no one was available. They were either already out of town or would be by the work date. Of course I found my actors eventually, but I thought it was a shame that some actors missed out on a paying role in a union feature because they chose not to be available in December.

When producers or casting directors need you to show up on the set, the only response should be “where and when?” The actors I reach out to are the ones that have proven to be on call year-round. I’m not mad at the other actors, but I can’t hire them.

You are NOT available if you are in a play without understudies. I cannot hire you and guarantee a stop time. Why would I? I have thousands of actors who are available 24/7. Whether it’s a studio film, a network series or a tiny indie, you must be available or you are wasting our time coming in. This happens way too often and it damages relationships between actors and casting directors as well as those between casting directors and agents.

You are not available if you can’t be in my office in an hour. Many of you have jobs that aren’t as conducive to auditions as you want to believe. You have to rush to every audition. You are not at your best when you are there and you then rush back to work. If this is you, you need to find a new job asap or you made the trip out here for nothing.

You’re not available unless you bought a one-way ticket to Los Angeles. You cannot move home, move back to L.A., move back home and repeat the cycle over and over expecting this to work for an acting career. The majority of actors who leave L.A. do not return. The one thing they all have in common is that they are not working actors in film and television today. Move here. Stay here.

Don’t say you are available unless you are available 365 days a year, 24 hours a day. As I learn every time I cast a project, there are actors out there who just don’t seem to know their own availability.

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Mark Sikes began his casting career in 1992 for Academy Award-winning filmmaker Roger Corman. In the past 24 years, he has cast over 100 films as well as television series, commercials and web series. He has cast projects for top directors such as Tobe Hooper, Mark Jones and Luke Greenfield and many others. Domestically, he as cast films in Los Angeles as well as in Texas, Ohio, Massachusetts, Virginia and multiple projects in Colorado.

Want to get your acting career started? Sign up or login to Casting Frontier and start auditioning today!

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5 Tools For Actors to Stay Sharp

As an actor, you are always training regardless of whether you are seasoned or just starting out. You want to say, “I have a craft.” You are always in the pursuit of sharpening your tools. You are looking to keep your instrument alive, responding, open to stimuli.

Actors depend on having an instrument that works. You need to exercise it. Here are five basic essential things you have to work on constantly.

1. Script analysis.

Pick up plays and screenplays and break them down. Understand the script analysis of it from A to Z. Make a list of events—relationships, wants, conflicts and obstacles—and look for what is not obvious. That’s good script analysis. Look for the deeper meaning of things. Go out on a limb in your analysis. What could be the extra layers of complexities that exist?

Those discoveries will lead you to make choices that are off-kilter. Again, the more you train yourself to do this exercise, the easier it becomes to do this intricate work.

2. Creating characters.

You should constantly be thinking about creating different characters. Keep writing backstories for different characters. Create profiles, composites and explore their physicality. That is always the way into discovering who they are. What are the most controversial events that could have happened to them? Read lots of biographies. It will inspire you to find twists and turns. Interview folks, ask them about their lives and uncover their secrets. It will give you ideas!

3. Improvising.

Yes, you have to be able to improvise and think fast on your feet. To be able to put it in your own words makes you able to own the material you are working on on a deeper level. Also, knowing you can improve the scene makes you fearless—a feeling that you could handle anything. You can have a lot of fun getting out of your head in that way and completely forgetting what the next moment is. You really have to trust your impulses and channel them in the most creative way.

4. Knowing the words.

Work on committing lines to memory. If someone comes to see you perform in a play, remember that cliché question they ask you backstage, “How did you learn all those lines?” But all joking aside, for some actors, memorizing can be a challenge. The breaking down of the script, knowing who the character is, and improvising the dialogue before committing to the words that are written can very much help you with this tool.

Again, it’s a muscle that you have to train. Memorize a poem, a song, a monologue, or a scene every week. Once you understand the intent of the line, say it and make it yours over and over again. Your body has muscle memory; it remembers.

Although improvisation is wonderful, if Aaron Sorkin or David Mamet wrote that script, you will need to get it perfect word for word.

5. Knowing how to work in front of the camera.

Yes, practice makes perfect, but the moment a camera is filming you, everything is different. Learn to watch yourself and learn from it. It’s important to understand if the choices you are making are reading.

Look at what your body is doing; look at what your face is doing; see how you take direction and implement the adjustments quickly. As you try out different choices, find out which one is the strongest and which one plays the best.

Every tool mentioned above is a muscle that needs to be worked on consistently in order to strengthen your craft.
Once you have that foundation, repetition will deepen your work as an actor. So roll up your sleeves and get to work!

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Michelle Danner is a renowned acting coach who works with A-List Actors privately as well as on set. Michelle trained with Stella Adler and Uta Hagen and was voted favorite acting coach by Backstage readers and featured coaching Andy Richter on The Tonight Show with Conan O’Brien.  Michelle has two books, The Daily Ritual and The Golden Box. Please find more about Michelle and her acting classes at michelledanner.com.

Want to get your acting career started? Sign up or login to Casting Frontier and start auditioning today!

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