The Successful Talent: Tips for the Actor & Model

HOW CAN I GET THE CD TO LIKE ME?

You may not have realized how difficult the casting director’s job was until now.  If you have ever had to organize a large number of people for an event, you can sympathize – imagine having to do that every day!

 

So how can you help make the casting director’s day . . . and in turn, find favor with this person?  Here are some simple pointers that never fail:

 

a)     Be on time.  One person showing up even a few minutes late can make a mess of a casting session for not only the CD, but also the talent slated for later times that day.  I could spend an entire blog on all the issues that late talent create without realizing the damage they did unintentionally.  I’m not going to, however.  Just do it.  On time means 5-10 minutes early.  You should have your paperwork filled out and a few minutes to get fully into character PRIOR to the casting time you were given.  That time is when you should be stepping in front of the camera to show off what you can do!

b)     Don’t be too early.  “Woman, what do you want from me?”  I can hear you asking it even through cyberspace.  It’s not difficult – get there early and don’t walk in until 5-10 minutes prior to your scheduled time.  Talent who show up an hour early cause the same problems and make CDs (and their assistants) angry, which causes the talent to fall out of the good graces they were working to obtain.

c)      Dress in character.  “The dog ate my shirt” isn’t an excuse after you graduate from middle school.  Look the part – show the client that you are naturally that character they are seeking out! 

d)     Know your script.  Some CDs don’t mind if you have your script in hand, whereas others expect you have it memorized.  Take the script in with you, but don’t use it unless the CD gives you direction that changes what you had originally prepped character-wise.  Then it’s ok to rely on the script because your focus should be following their character notes/direction.  (If they ask you to put it down when you enter, be gracious and accommodating – you don’t need it anyway, right?)

e)     Fill out paperwork correctly.  Each market will vary slightly, so consult your agent about anything you may need to know concerning paperwork before heading to your audition.  You should be able to fill it out on autopilot so you can stay in character.    Read the forms carefully.  Talent who fill in blanks marked “office use only” open themselves up to feel the wrath of a CD or assistant who might need to find a reason to vent frustrations.  That’s not the side of a conversation you want to experience prior to stepping into the casting room!

 

Simple direction that you were taught in elementary school will ensure a lasting relationship with this gatekeeper.  You aren’t there to be the CDs friend (or have them want to be your friend).  You are there to do your job as a talent.  It is just that –  A JOB – so to borrow a catch phrase, “just do it”.

 

What issues have you run into in the casting room?

BRIDGING THE GAP

If you took advantage of some of the outlets mentioned in the previous blog, you are doing something that will have substantial positive consequences for your career as a talent!  Now that you are meeting people and getting the exposure to learn your way around the industry, the next step is VITAL!  You need to know who the people are you are meeting!  Maybe not their first born’s shoe size or their favorite kind of pizza, but identifying their needs, struggles, place in the chain of communication, and responsibilities will put the fear that most talent feel back into a logical perspective.

 

The next few blogs will focus on the other professionals you may encounter.  We already touched on the manager, agent, and acting coach.   (Refer to “Be A Team Player . . .” for a coach, “Walking The Tightrope . . .” for the manager, and “A Complementary Partnership” for the agent.)

 

The casting director.  After you secure a partnership with an agent, you will likely be exposed first to the casting director (aka: the CD).  The CD is the gatekeeper between the ad agent, director, or producer.  Their job is to put quality talent on camera and share the options with their client.  The process for doing so can be logistically and financially challenging at the least – but can also be difficult when it comes to communication.  The CD has to dissect and translate what the client wants into words that can be submitted to the agents clearly.  Sometimes they use storyboards or sides to communicate these ideas more effectively, which can be shared with the talent prior to their casting appointment. 

 

Once the translation process has been completed, the CD sends a “breakdown” out to the agents.  From there, the process can take many routes.  Some CDs ask for specific talent only, while others may suggest the agent decide who is the best fit.  Some CDs are willing to work with talent scheduling issues with whom they know well and have built a relationship, but generally they offer a casting time that is not negotiable.  (Keep in mind they are not only juggling upwards of 100 or more talent at any given casting session, but they are also dealing with agents trying to work out scheduling issues and applying pressure to work new faces in that weren’t invited, so they have to be Ringling Brother’s Circus style jugglers to make it all work out in the end!)

 

Then the CD spends the casting day nailed to the floor in one room seeing all of the scheduled talent say or do the same thing over and over and over and over . . . can you see where it would get tedious?  It does.  But oddly, most CDs find the process bearable (and even enjoyable when a talent really does something amazing to nail the audition)!

 

After all the talent have cast, the CD burns a copy of the auditions and sends it to the client.   The client may wish to see a select few talent at a callback session, in which case the CD has to go through the entire process one more time. 

 

At last, though, they get to make the phone calls to the agents when the client has chosen the actor or model they want to book for the job.  Hopefully it will be your agent calling YOU! 

 

I find that talent as a whole don’t know much about what the casting director actually does.  What misconceptions did you have prior to reading this blog?  And what questions do you still have that have yet to be answered about the role of a CD?

I'm excited about the opportunity to speak to Caroline Wooldridge's on camera acting students at Belmont University today! Their questions will likely promote new blog topics that you may be wondering about yourself!

THE VICIOUS CYCLE

“I have little to no experience,” the talent complains.  “How can I get work if I don’t have a resume with credits?” 

 

It’s a quandary faced in both the talent realm and the corporate world.  Building your resume can be a daunting task.  Directors don’t want to work with green talent, who make their days long and pay off minimal – it’s a fact.  So what’s a dreamer to do?

 

Build a resume!  Yup, it sounds like I didn’t answer your question, but despite what the nay-sayers are telling you, talent CAN build a resume with little to no experience.  Here’s what you can do:

(a)          Get involved in an acting class.  Coaches and other working talent can give you insight on where to get extra work.

(b)          Check internet databases.  Be wary of anything found on craigslist, but don’t nix it altogether.  Sign up for extra databases in your area.  Look into non-paying work when the opportunity presents itself.  Hey, that’s what college interns do to get experience!

(c)           Contact an industry professional and ask if you can intern.  Building relationships with people who desperately need good help is invaluable.  Send your business resume to agents, casting directors, coaches, etc., and offer your services free of charge.  (Expect to sign confidentiality agreements and non-competes.)

(d)          Find local film communities.  Check out film schools in your state.  Get on mailing lists to keep up with what’s going on and ask how to get in front of the people who are looking for talent.  Most of them are desperate to find a quality actor willing to work for free!

(e)          Get involved in local theatre.  You don’t have to land the lead - and sure, theatre isn’t the same as on-camera work.  But the point is that it’s a credit.  Agents would much prefer to see theatre experience to nothing at all.  Theatre settings are great for learning to develop character, follow direction, and get through all the initial stage fright & nerves.

 

One or more of those suggestions will work anywhere in the world. Find something you have questions about, leave a note and I’ll help you sort through the confusion!  

 

What outlets do you have locally?

BEAUTY DOES NOT EQUAL SUCCESS

In earlier blogs I mentioned Steve Buscemi as being a highly respected and successful actor, but his focus was never obtaining runway status (that I know of).  The serious actor finds him/herself perturbed when professionals discuss acting in the same venue as modeling, so to those of you who are passionate about the craft of acting I extend my sincere thanks for hanging through the model discussions.  Keep in mind, however, that when you do hit it big, you’ll be wishing you had taken notes from these talented models because every successful actor is photographed and has to learn to work the still camera just as well!

 

So what are the actor’s options?  There are two basic categories of actors – the leading man/woman and the character actor.  A leading man would be George Clooney (a woman would be Jennifer Garner) while an example of a  character actor is Michael Sera or Angela Landsbury. 

 

The leading man/The leading woman.  There are only a few roles out there for this type of actor.  Think about it – in each movie or television series you watch, there are only one or two (maybe a small hand-full) of main characters.  These are the LEADS.  They are generally the love interest or seated around the dramatic climax in the plot.  Due to that fact, they tend to be the more physically attractive actors.  Since most talent vie to keep a healthy appearance and crave the most dialogue possible, they find themselves sparring for the LEAD roles.  This means they are trying to market themselves as the leading man/woman.  If you fit the mold of a leading man/woman, read the notes to models in prior blogs about the importance of muscle tone, skin, teeth, and overall health.  These attributes are equally important to the actor!

 

A flip side to this basic talent philosophy is Charlize Theron, who was characterized as a leading woman by the industry.  To maximize her exposure and opportunity, however, she learned to play character roles (e.g., see this example in the movie, “Monster”).

 

The character actor.  This actor brings the substance of quality that we look for in the leading actor, but has substantially more opportunity to appear on camera and frequently has a more diverse resume and skill set.  The character actor plays secondary leads or bit parts.  Character actors can become typecast the same as leading men/women, but it’s less likely.  Almost every movie you’ve seen has a few character actors who revolve around the leading man/woman.   Some character actors have been so successful and well-networked that they get offered leading man/woman roles later in their career, like Michael Sera, Robert De Niro, and Meryl Streep.  The character actor gets the most opportunity to stretch his/her acting muscles and practice a developed skill set in a working environment.

 

My point?  Who cares what you see in the mirror?  In acting, there is always a place for your physical type.  Embrace the opportunity and grow your network and skill set to reach your full potential!

 

Who is your favorite leading man or woman?  Your favorite character actor?