How Understanding Writer’s Intent and Story Enhance Your Script Analysis Skills
January 17, 2024
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.
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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A Complete Guide to On-set Do’s and Don’ts
December 19, 2022
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
September 21, 2023
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.
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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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Seven Signs You Have A Professional Acting Career
June 28, 2023
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!
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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Tips For Kids To Win Auditions
August 14, 2016
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!
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
July 19, 2016
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 18th for them to work on December 21st. 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.
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
April 28, 2023
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!
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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