The Successful Talent: Tips for the Actor & Model

THE ORIGINAL SCREEN TEST

After a lot of very hard knocks in the 1930s, Lyle had been given the opportunity to do a screen test for the second biggest studio in town, Warner Bros.

Lyle arrived at the studio looking his best, his dark hair shimmering with brilliantine, his two-tone wingtips just as shiny.  In his years as a travelling theatre actor, [he] cultivated habits that helped carry him through life.  He didn't have the steadiest of moral compasses, or much in the way of self-knowledge, and he would later be undone, more than once, by his love of a strong drink or the wrong woman.  (By the time he arrived in Hollywood, he had already ended a two-year marriage, to a strage actress, and had four more marriages ahead of him.)  But he always maintained his habits of professionalism, and of small ateentions to himself--the sort of ruotines that can hold a person together when little else does.  Lyle always showed up on time, and he always knew his lines.  He never left the house unless he was well turned out, anointed with Lilac Vegetal, a clean white handkerchief in his pocket.

One thing Lyle felt certain of: the material he had chosen for his test was perfect!  It was a scene from "Louder, Please," a play he'd done in Dallas.  He had played Herbert White, a brash and charming publicity man for a movie studio who runs afoul of the studio's obnoxious head of production.  The dialogue was quippy; the pace was modern and frenetic, with a lot of ringing phones and shouting.  In Dallas, Lyle's performance had earned him some of the strongest reviews of his career. 

Did it cross Lyle's mind that somebody in Hollywood might take offense at such an acid portrait of Hollywood?  It did not.  After all, the studio in the play was fictional.  After Lyle delivered all his lines, crisp and fast, the director walked over and said, "Talbot, that scene you did -- was that from a play called, 'Louder, Please'?"  Lyle nodded.  "Well, that play is kind of taboo on the lot here," the director continued. "The man you referred to as King, the one you're having a conflict with, is the head of this studio.  I don't think, uh, this test is something you want the studio head to see."

Lyle swallowed.  "Can we do it over?"   The answer was no.

Opportunity knocks and sometimes we are ready -- or we think we are ready.  Political blunders are rarely intentional, but can quickly kill a great casting, booking, or meeting.  Having advisors close at hand to help you navigate the unknown is one smart move, but being aware of the industry and who's who within it is an equally smart move on the talent's behalf. 

Lyle Talbot went on to become a household name starring alongside Carole Lombard, Barbara Stanwyck, and Bette Davis, despite his poor screen test choice.  You can reach the full article in The New Yorker. 

I am continually shocked by the choices talent make when they get an opportunity to read for an important CD or even meet me as an agent.  Bold and appropriate (or educated) choices excite me; whereas poor or humdrum choices make us want to pass before the actor even gets through their first 10 seconds.  Are you making the best choices to keep us interested and engaged?

THOUGHT RECOGNITION BEFORE SPEAKING

As a performer, it's easy to practice certain looks, responses, reactions, and characters in which one excels.  However, it's also easy to get into a rut if those practiced actions become canned.  How do you keep them fresh and new?

Actor Michael Caine shares some sage advice in his book Acting in Film -- an oldie, but a goodie! 

It may sound like a contradiction, but you achieve spontaneity on the set through preparation of the dialogue at home.  As you prepare, find ways of making your responses appear newly minted.  In life, we often pick up the thought that provokes our next remark halfway through someone else's speech.  Thoughts don't leap to the mouth automatically.We don't interrupt at every occasion when a thought formulates itself; or, if we do, we don't have many friends.  Similarly, in a film script, your internal thought processes might well start articulating themselves long before you get the chance to speak.  The script sometimes directs you to interrupt, but if it doesn't, your thought may start well before you get the chance to respond.  There may be a key word that triggers you during the sentence the other actor is saying.  So pick up on that; form your thought and be ready to speak.  For example: 

    Other Actor:  "I've got to get a bus to Clapham -- I'm already late                             for my date.

    You:  You won't get far.  There's a bus strike.

The other actor doesn't stop talking after he says "bus," so you can't get in and say your line at the actual moment of thought recognition.  But when you hear the key word "ubs," from that point on you knowo what you're going to say directly after he stops.  You can show this by your reaction.  And that bit of acting can only come from serious listening.

Knowing your next thought trigger will help you stay in character and in the moment.  And as the audience, we can feel you anticipating what you want to say, which adds intensity to our expectation.  What script have you had recently that this tactic could be helpful in?

WHAT THE CD DOESN'T TELL YOU (Part 2)

After having had time to recenter yourself from Caroline Liem's early advice, here she continue to challenge you to move past the moments in the casting room and build a more interesting (and hence, valuable) YOU.

6. Be like the reed. Ever have a day when you get to your appointment and find out there were notes never received, new sides, and awkward camera set up, and an extended wait time? How can we do our best under such circumstances? Be flexible, and keep it positive. Look, stuff happens every day that’s out of our control, but how it’s handled is what will be remembered.

7. My reader was a zombie. A tough room = A chilly reception. The audition process is already awkward without these additional bumps in the road. Still, it’s your job to create your environment and show us what you’ve carefully prepared. An Academy Award-winning actor once told me she made a game out of it. The goal was to get the reader to look up. It’s still about connection and taking it off of yourself.

8. Yes, your degree counts. It shows steadfast determination. But class is how you keep sharp, develop additional skills, and stay current. Be open to taking selective classes or seminars continually. Training never ends.

9. Tell a friend. Refer people for jobs you can’t work. It always comes back in a positive way.

10. No car = no work. If you’re [going to make it to the audition], for Pete’s sake, have a working car!

Caroline Liem is a casting director, audition coach and teacher based in Los Angeles. Her highly acclaimed film/TV audition and text analysis classes have been taught throughout the U.S. both privately and at universities. She has cast indie films, studio features and television pilot/series for Disney Studios, Warner Brothers, Sony, Paramount, Twentieth Century Fox, ABC, CBS, NBC, WB, and Fox. You can see her latest casting on Nickelodeon's Parental Discretion with Stefanie Wilder-Taylor. You can find more information on Caroline and classes at www.CarolineLiem.com and like her on Facebook and follow her on Twitter @CarolineLiem.

WHAT THE CD DOESN'T TELL YOU (Part 1)

Casting Director, Caroline Liem, takes the time to spell out the things that you don't hear in the casting room, but are nonetheless true every time as a BackStage Expert.  Read them after each casting, whether you were sure you nailed it or bombed it, and trust that the unsaid is real!

Your teachers, mentors, friends, casting directors have trained you, taught you, listened to you, and brought you back over and over again because you’re terrific in the room. But there are always some things you wish they’d told you sooner.

1. “No” does not equal failure. Casting is working at a heightened pace - creating a family, recasting because the male role became female, the location changed for the role due to budget or local hire, executive orders, nepotism - do you get the picture? It’s not about you. Casting directors are not required to give you closure or cushion the blow. So, what will they do? Though you weren’t right for the role, you were so prepared and confident and brought something unique to the character that they added a role just for you. They loved you so much because you were personable and professional that they remember you and bring you in for another show they’re casting and tell their casting/director/producer friends to meet you.

2. Take big risks. You got the appointment because you satisfy the role. But standing out in the room and landing the role, requires more than satisfactory choices. You didn’t play it safe by choosing this career. What’s the rhythm of the dialogue? What’s happening in-between the lines? What is the world you are creating? What do you want from the other person? And make it bold. Again, it’s not about you.

3. Work smart. What’s your goal? What’s trending? How does it fit your brand/casting? Who knows about what you want to do? Where are the gaps artistically and in business and who can help you fill them?

4. Nurture your love of your art outside the business. It matters that you are a fully developed human being. What are the other things you have in your life which bring delight, purpose, challenge and growth? We are all more than our resumes, and that person is the one we want to know about in the room and on set for the next three months. So try something new or revisit some long lost passion and tell us about it when we ask “Tell me a little bit about yourself.”

5. Mom was right! We never hear about struggling doctors or struggling attorneys. Mom begged us to get a business degree or take a class, but most us decided, “I don’t think that way. I am an artist. I’ll never use that degree.” There is a real way to earn money, pursue your dream, and still have the creative life you deserve. Acting is your career. Bartending, teaching pilates and yoga, or dog walking may help create schedule flexibility and supplements to your career, but they are NOT the reason to change or cancel an appointment. Your reps tell us you’re sick. We know better because of social media. If you have your team already – agent, manager, attorney - listen to their guidance. You have chosen them.  You are the CEO of your corporation and its star.

Soak in this helpful advice and ponder it over the next few days.  Repeat these ideas out loud to yourself in the mirror so they stick when times get a little tough.  Pick up the weight where you might have been slacking off, if it becomes apparent.  And watch for a few more pointers from Caroline Liem to follow in the next blog!

SIX MUST-READS FOR THE ACTOR

Acting coach, Denise Simon, tells us what her must haves are as an actor.  The holidays are a great time to study your craft as productions slow.  Use the opportunity wisely and grab these books to read while traveling!

“Acting for Dummies” is the silliest name for a book on acting (There is one, I checked!) because acting is certainly NOT for dummies. It takes a real education to look natural in front of an audience or camera. As an acting coach, my teaching style consists of a myriad of techniques learned over the years from some very gifted teachers in the industry. This mix is also reflected in my reading list. Between my Kindle and my bedside table, I have perused and read far too many books to list in one article. However, I’d like to recommend six “must haves” for aspiring and working actors alike.

 

 

1. "Audition" by Michael Shurtleff

I consider this book to be the “bible” for aspiring actors. If you are just beginning your acting career, this is a great place to start! It covers everything you need to know to get the part. Mr. Shurteff’s twelve infamous guideposts have influenced my own work in developing my simple technique to help actors learn how to direct themselves. From relationships to finding the love and humor in the scene, Shurtelff’s steps will help you nail your audition every time.

 

 

 

2. "Meisner on Acting" by Sanford Meisner

Meisner or Method? That is the question. Well, it may not really be an either/or. It’s often insightful to know both. Although I did not train with Sanford Meisner, I was fortunate enough to study with many teachers, including Wynn Handman, who were Meisner disciples. In this gem, Meisner gives it to you straight on how to live truthfully in the moment under imaginary circumstances. Your library is not complete without this one.

 

 

 

3. "Respect for Acting" by Uta Hagen

Simple and straightforward, Uta Hagen’s profound book has helped generations of actors hone their craft. She introduces series of exercises to help the actor connect to the moment, fellow actors, and the audience. “Who am I?” “What do I want?” and “What is my relationship?” are three of the nine questions explored to define your character’s role specifically. Hagen also includes invaluable advice about stage nerves and how to stay fresh in a long run.

 

4. "An Actor Prepares" by Constantin Stanislavsky

Funny at times, this book takes the actor through Stanislavsky’s self-developed "system" which helps the actor to master his craft as well as stimulate creativity and imagination. Now referred to as "method acting," "An Actor Prepares" includes a variety of exercises and some autobiographical experiences that focus on relaxation, concentration, and techniques that will help get the actor into character. Emotional memory and the “magic if” explored in his book laid the groundwork for much of the great acting today.

 

 

5. "Improvisation for the Theatre" by Viola Spolin
Considered the mother of improvisation, Viola Spolin developed a series of acting exercises and theater games to free the actor’s creativity, allowing play beyond the scene. Many modern improv groups such as Second City utilize Spolin’s techniques. If you want to learn truthful acting and how to be “in the moment,’’ add this to your library to make it complete.

 

 

 

 

6. "Actions: The Actor's' Thesaurus" by Marina Calderone
Acting means TO DO. Thousands of action words are alphabetized and categorized to help you find what you are doing in every beat. This book will help you play specific actions and get away from making general choices.

 

 

 

So there you have it! Denise’s favorite six top picks no actor should be caught without.

Master your craft, Empower yourself and Enjoy the journey.

WHAT ARE WE UP TO?

The Avenue's talent have been busy this year!  Just a few recent releases that we can share . . .

This holiday's Houchen's IGA commercial features Barbara Ann Brown, Diana Moseley, and Jack Cook.

 

 

And Kristy Lee Cook's newest release "Airborne Ranger Infantry" features Katie Napier and Trevor Roderick.  Visit our Facebook page to see the full video link and watch Trevor get shot!  (And while you're there, click the LIKE button and help us get to 1000!)

     

DO YOU HAVE A HIDDEN AGENDA?

From the BackStage Experts blog, coach Bill Howey asks us to take a step back and look at ourselves from a different perspective.

A Hidden Acting Agenda is a new term to describe an old phenomenon. These agendas - formed when you, the actor - hide some behavior, attitude or trait because they were the source of criticism or embarrassment in the past.

Let’s say that you were told that “you cry too much and it’s annoying.” So you decide to avoid crying because crying is bad. This decision becomes a Hidden Acting Agenda that subsequently changes every character choice you make.

There may be a list of behaviors or physical traits that others might have disapproved of, such as: talking too loudly, talking too softly, making too many faces, a too even temper, weird-looking eyes, and so on.

Or, you might have come to the conclusion, all by yourself, that you have a specific flaw. Such as telling yourself you can’t do comedy because no one laughs at your jokes.

Hiding traits you feel (or have been convinced) are "wrong" guarantees that your character will not be as complete or as interesting as possible. You may feel safer by avoiding a sensitive area, but the character you portray will be weaker without your hidden vulnerabilities.

Hidden Acting Agendas prevent you from fully discovering your full potential. This is because every character will be missing these “undesirable traits” that make you unique. But you will never know the effect your Hidden Acting Agendas could have if you avoid confronting the discomfort of revealing your “flaws” by thought or deed.

You must think like an adventurer and risk exploring each and every “flaw,” whether it came from someone else or from inside yourself. Adventuring into and uncovering your Hidden Acting Agenda is essential to developing your acting to the highest level possible.

The rewards for exposing your Hidden Acting Agenda can be enormous. Once you stop hiding those traits, your acting can blossom in unexpected ways. Connecting with, and then developing what you may consider your flaws are life giving to characters. Your unique qualities are what differentiate you from other actors.

You arouse feelings in an audience, a casting director, or anyone because you are tapping in to the parts of yourself that you have kept hidden. These flaws resonate with an audience when you allow them to exist as part of your character presentation. When we see an actor reveal herself and allow us to observe what we sense to be an imperfection, we are moved.

Interestingly, your faults and shortcoming can often become the most affecting elements of your acting. The best acting ingredients are always personal and real, and they should be used as the tools they are, not hidden away.

So take some time, be honest with yourself, and write down your Hidden Acting Agenda(s). This will give you a map for this adventure. As you explore those traits, bringing them out of the shadows, you will find yourself growing as an actor.

Bill Howey teaches “Scene Study with Emphasis on Auditioning.” He began a professional acting career at the Cleveland Playhouse. He moved on to
television, film production, produced and directed independent films and worked as a dialog coach for TV shows.