The Successful Talent: Tips for the Actor & Model

ARE YOU COMMITTED?

James Devereaux, a dedicated stage and screen actor from London, shares a great understanding on how to commit to the process of becoming an excellent actor.

As an actor, you’ve only got yourself to commit to – people enter the arena casually, and leave casually, because there is apparently no investment, no capital outlay.  There are, apparently, no tools of the trade; there are no material necessities. Filmmakers have their cameras, musicians have their instruments -- even writers, at the very least, have a pencil and paper -- but actors require no such material objects, anyone might get up from their armchair, and declare that they can walk proficiently, that they can talk proficiently, ergo they can act proficiently, and so put themselves out there, vying for work.

Further, it is easy to walk away from the business (and re-enter again), because it is just a question of ceasing to use yourself, which is very different to, say, somebody who sets out to become a pianist.  If they walk away, they will forever have their piano in the corner of the room as an aching reminder of their failure. All that an actor possesses is himself; his body, his personality, his imagination. What would happen to one who set out to become a filmmaker but failed to learn about light? Or one who set out to become a playwright but failed to learn about dramatic construction? Certainly they would not reach a level of excellence that would suffice for an audience to pay to experience their work. Why should somebody think that they could be an effective actor without a sustained focus on practicing and improving their craft?

“Ah”, I hear you say, “what about the Hollywood star, paid millions, but has problems with articulation such that, in some scenes, we cannot make out what he is saying? Is this not akin to watching a film where the camera is, at times, out of focus, or the instrument out of tune? And what about the genius “non-actor”, plucked from some street corner to star in the role of a life-time?” These are valid points, and they certainly do happen. But I say, so what? These things should not be used as an excuse to not strive for excellence, to not work hard, to not acknowledge that acting is an ancient and important craft and that one must learn to serve it. Acting then, becomes an investment not in material goods, but an investment in the self. The usual howl of derision will go up as it always does, that actors are narcissistic and selfish and self-obsessed – but nobody complains about the filmmaker obsessed with his camera, they say he is dedicated, and it would be absurd to criticise the pianist for ensuring his piano is in tune.

We see submissions daily at The Avenue Agency from talent with no experience or even training.  They always say, "someone suggested I should be a model or actor".  That someone is usually a close family relation who does NOT work in entertainment!  Sometimes a new face has potential and we want to help them get started, but they aren't willing to put their best efforts behind their start.  Maybe they aren't willing to get quality headshots that make a great first impression or they aren't willing to take the time to invest in coaching despite the fact that they want to book a movie.  A lack of commitment on any level -- and the flippant attitude that one can start or stop any career immediately -- is one of the reasons that the turn over is so high amongst actors.

Have you fully committed to your craft?  What used to hold you back that you are now fully committed to in your career?

 

UNDERSTANDING RESUMES AND HEADSHOTS

Commercial Print Instructor, Scott Powers provides us with an understanding of the resume and headshot controversy.

There has been this lingering great controversy/debate simmering under the surface that needs to be addressed once and for all.  Closure.  End of discussion. 

Namely, how to attach your résumé to your headshot.
 
Assuming you have a dynamite glow-in-the-dark headshot that looks just like you on your best day AND is 8"x10", in color, matte finish (not glossy), with borders and name on front; you would like to keep the elegance of your promotional material.  Interestingly enough, a bad job of attaching your trimmed 8"x10" résumé can gum up the works, pun intended.  And cheapen the product - you.  What are the options, plusses and minuses?
 
1.       Glue stick.  No.  Glue sticking a   résumé can dry out and a résumé separates and floats to the bottom of a file drawer, joining the other orphan résumés bearing traces of glue stick.
 
2.       Rubber cement.  Will create more wrinkles and lumps than you ever thought.  Old before its time.  How you will look when you're 85.
 
3.       Staples.  Long considered the industry approach.  Often because they are not aware of a better, simpler, more elegant alternative. [Coming up on that.]  Think about this: you have a beautiful headshot and it gets punched through by clunky staples.  AND, if you update your résumé and remove the old staples, then add more staples and more holes.  Starts to look a bit chewed up.  Also, a hard copy headshot/résumé could get filed in a file drawer usually overstuffed with other headshots/ résumés.  Forced in, ripped out.  And every other one in front and behind yours gets the same treatment.
 
What, oh, what to do in these perilous times to solve this crisis?
 
4.       Permanent double-sided Scotch tape.  1" on each corner is all it takes.  No lumps, no bumps.  If you have to replace your résumé, just peel off the old one, put the new one on.  AND, it preserves the elegance of your costly headshot.   Beware: there is now a removable double sided Scotch tape version now on the market.  Be careful not to buy this by mistake.  It will not hold your resume and make for résumé rage.  Make sure what you buy is permanent double sided Scotch tape.  Staples has it; Duane Reade has the one you don't want.
 
As they say, the devil is in the details.  People are either consistently superior on all fronts, or consistently mediocre on all fronts, or consistently substandard on all fronts.  Being consistently superior on all fronts presents a professional actor, one that shows that they are competitive and hirable.  This is just one little contributing factor that cumulatively adds to your luster.
 
Of course, this advice is only helpful generally speaking.  There are always cases where a particular casting director will rather you use staples or some other method, so always follow the advice of your agent prior to an audition. 

Does your presentation meet the standard that makes us happy to pass your headshot along to the decision maker?

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OUTSIDE OF ACTING

You mean to tell me there are other jobs in entertainment besides being an actor or model?  Yes, Virginia, this industry is not run by Santa Claus!  You may realize there are people working with and for your benefit as the talent, but are you aware of what their daily grind is like?  Most likely, you have misconceptions without knowing it.

What does that CD who always seems so stressed out (or nonchalant) deal with every day?  Find out from our fellow industry professional Scott Powers!

It is vital that performers know not only how to act and market themselves, but how the business works from all sides.
 
One of the approaches that we have recommended with great results to abolish this situation is - ready? - go for an internship or be a reader.  Internships are basically unpaid or low-paid or transportation/meal stipend paid positions.  They can be a few hours a week, on a daily basis or for a specified period of time.  Interns open the morning mail and email, field phone calls, file headshots, watch the actors/models coming in and out of the office, interface with the industry, discover what problems the business has to grapple with day in and day out, maybe even sit in on the decision making process.  You will have a great first-hand to generally/specifically observe how the industry - the "other side" - REALLY works.  What a great opportunity you created for yourself!  And if you know THAT, your pursuits and career will absolutely benefit.
 
Being a reader for auditions at a casting company gives an actor first-hand experience on how the casting process works.  What works and what doesn't.  Talk about an eye-opening experience!
 
Are interns all really young?  No.  If you're, say, over 30++, don't worry about it.  You bring to the position certain life experiences and approaches that someone younger hasn't had yet.
 
Be pro-active.  You contact them.  Most offices have a continuous need for interns.  You can approach a company in general or target a specific person.  Want to get in good with an agent?  Offer to intern for them.  Want to get in good with a casting director?  Offer to intern; be a reader for them.  Send them your headshot via email or snail mail and on the outside, mark "INTERN APPLICATION" or "READER APPLICATION" (or on the Subject line if email) and inside have a BRIEF cover note. Tell them what qualities you can bring [to the potential partnership].  Tell them what times/days of the week you are available and how long you can be available.
 
[An experience like this can] change your outlook forever.  Not only will you have a much better understanding of the business, but you will have a much better appreciation of it as well (and there would be a lot less moaning and groaning out there!)
 
Of course, if we could only get the agents and casting directors out on a few auditions and go-sees to see what the actor/model goes through, we might have a nearly perfect world....

And that reminds me of a bet I lost once with an actor.  My pay up was to take Caroline Locorriere's scene study workshop for a month.  It was mostly fun, but also great insight into what our actors grapple with every day.  Learning can go both ways, but you can only choose to learn for yourself!  Internships aren't limited, so think outside the box and find something that interests you as well.  It may be photographry, television, publicity, management, etc.  Your options are only as limited as your imagination!

Where could you intern and how could having done so help you in the casting room or on set?

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Your Inner Demons

A Casting Director Shares Dos and Don'ts for Actors

DO YOU KNOW YOURSELF?

 

Figuring out who we are and what we're meant to do is a lifelong process. Some of us are fortunate enough to find out at an early age, while others may adopt being a jack of all trades and dabbling in a bit of everything.  Talent who have successful careers and develop naturally have what the industry calls the "it" factor.  In reality, they are simply comfortable knowing who they are and what they have to offer without forcing anything outside of that on themselves or their audience.  Here are some ways to learn more about yourself as suggested by Anthony Meindl.

Start with yourself. If you start anywhere else, it’s a false start, and you’ll just be forced to go back to the starting line and begin again and again.

Starting with yourself means finding the place within you that is not influenced by outside forces. It’s not affected by what other people say or do. It’s not discouraged by people wanting to stop you. It’s not even concerned with the negative things you say about yourself, which come from the conditioned part of our left brain.

When I was in my 20s, I spent a great amount of time running away from who I was. I was always trying to be someone else – wanting to be liked, popular, cool, or attractive.  But no matter how hard I tried to avoid myself, I kept coming back to me. By my 30s, I realized that who I was – who we all are – is the thing we keep looking for somewhere else.  In someone else.

Our essential self (which makes each of us unique) is the part of us that is connected to something bigger than our egos. It’s like you are one of those limitless channels available on TV.  To receive the broadcast, you’ve got to keep your channel open. You’ve got to get out of your own way. You’ve got to get out of its way. Keep it open. Stay plugged in.  It’s not an easy job because the ego wants to get in there and take credit, lay blame, excuse, rationalize, defend, or judge.

Because each of us is uniquely different, the expression of our true selves will be unique, innovative, original, and dynamic. Look at the actors you admire.  You don’t have to work so hard trying to “do.” You don’t have to put something “on.”  You don’t have to show. You simply have to allow. Surrender. Align. Accept. Be.

Watch what happens. Just. Stay. Open.

You are the vehicle. Let yourself be driven. 

Are you still learning to accept who you are?  If you've found that sweet spot and are comfortable in your own shoes, what advice do you have for those who have not yet?

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YOUR INNER DEMONS

NYC and Nashville casting director Kim Petrosky shares her perspective on Risa Bramon Garcia's blog post on BackStage.

"Great article by Risa Bramon Garcia. My personal #1 most important thing an actor can do -
Do you your own personal work. YOU are who you bring into every audition, every situation, every relationship in your life. By making the choice to be an actor you are choosing to be in relationship…with other actors…script…director...with all the other creative and technical aspects of the experience. If you have personal issues that may be holding you back (and I’ve never met anyone who doesn’t) become aware and do whatever you need to do to explore them…heal them…find the tools or whatever is the right choice for you. Self-exploration is a life long process and cannot be overlooked. Because trust me…I see this as the biggest obstacle in every actors success," said Kim Petrosky in her Casting Facebook post recently. 

Risa Bramon Garcia's "15 Things Actors Do That Make Me Happy" full article is pasted below.

1. You show up every day. You make no excuses.

2. You love the work wherever and whenever you’re doing it and you don't complain. None of the “I’ve been a series regular for six years, and I’m only working one day/week for $40,000.” Or “I’m so ready to work, but I’m home all day with nothing to do.” You bring your love of acting to the audition room, set, rehearsal, class, and you carry your love of the work into every experience. You relish it.

3. You do everything you can to be prepared. You know your lines. You do your homework. You do it to get out of your own way.

4. You’re generous to each other, and you’re generous to yourselves. You give yourselves a break. You manage your expectations.

5. You don't apologize, and you’re willing to applaud yourself. You turn limiting beliefs into empowering ones.

6. You focus on others, not on what they think of you but on what their needs might truly be. We are all your audience, and you’re there to offer yourself and your work to us in performance, in collaboration, in a shared adventure.

7. You train. You study. You work out. You continue to develop your craft. You get that being in shape is what gives you the edge to compete and the freedom to fly.

8. You live full lives.

9. You’re proactive and deeply creative. You take responsibility for your work, your success, and yourself.

10. You’re willing to fight for it.

11. You understand the power of fear, that it’s a force, not an impediment. You take risks in spite of your terror. You let it fuel you. You do what Yoda says: “Feel the force!”

12. You’re courageous. You embrace the struggle and find a way to love it, knowing that the creative spirit grows from battling through the night, that this is the force with which we create. You're willing to do whatever it takes.

13. You’re about the work first, knowing that career will follow and not the other way around. Dedicated work leads to good work. Good work leads to great work. Great work is thrilling. Great work is noticed. Celebrated. Hired. And money follows bliss. As Steven Pressfield wrote in "The War of Art," "The most important thing about art is to work. Nothing else matters except sitting down every day and trying."

14. You know how damned lucky you are to have chosen this thing, this thing that is generated from the fire within you. You’re blessed to be on this journey.

15. You have faith.  My happiness isn’t really determined by an actor’s decision to take care of him or herself. This is my own checklist for artistic sanity and success. However, when I do see fellow artists show us and embrace these actions, I’m gratified. We conspire together in our pursuit of happiness. 

There’s further to go in the exploration of each of these commitments... For now, let's embrace them. Let’s look at where each of us shows up, where we might have to recalibrate how we approach our creative lives. Our careers and our joy depend on it.

Risa Bramon Garcia has just started up a new Studio in L.A. with partner, Steve Braun, called The Bramon Garcia Braun Studio, dedicated to actors’ whole journey, connecting craft with career. Visit Risa’s website, active and inviting for actors and other artists alike is:Risabg.com.

For the past 30 years Risa has worked consistently as a director, producer, casting director, writer, and teacher, collaborating with some of the most groundbreaking artists in the world.  Having directed two feature films ‐ the cult classic, "200 cigarettes," and most recently, "The Con Artist" in Canada - Risa’s also directed for television, including multiple episodes of "The Twilight Zone" for New Line/UPN, and shows for HBO, Lifetime, and Comedy Central. She’s directed dozens of plays in New York (The Ensemble Studio Theatre, Second Stage, Manhattan Theatre Club) and in Los Angeles. Risa’s casting résumé includes more than 65 feature films, classics such as "Something Wild," "At Close Range," "Angel Heart," "Fatal Attraction," "Wall Street," "Talk Radio," "Jacob’s Ladder," "Born on the Fourth of July," "JFK," "The Doors," "Sneakers," "The Joy Luck Club," "True Romance," "Speed," "How To Make An American Quilt," "Dead Presidents," "Twister," "Benny and Joon," and "Flirting With Disaster;" and numerous television shows, including "Roseanne," "CSI:NY," "The Cape," and most recently "A Gifted Man" for CBS and the pilot "Rewind" for Syfy. She’s about to start casting the Showtime series, "Masters of Sex." Risa served as a producer on Oliver Stone’s films "Heaven and Earth" and "Natural Born Killers," movies she also cast.

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ARE YOU A RISK TAKER?

I married into the best family!  My husband tells me the story about how his mom would always casually say, "Be careful, honey," as he walked out the door as a teenager / young adult.  This was their household modus operandi.  Every now and then, however, her quip changed, and she would shock him with, "Take a risk, honey" instead.  This change provided a ying to their daily yang relationship.  She still says that same thing to me from time to time and encourages her grandchildren, students, and in my case, in-laws, to face fear head on.

So in the philosophy of a woman who has lived her life fearlessly and still maintained one of the biggest social circles I've seen (she has a social calendar that would make your head spin!), the new year is a great time to suggest this might be a useful philosophy for most of us -- but especially for those of you in the creative fields. 

Be wise and vigilant most of the time.  But dare every day to do something risky . . . dare to take a chance and try your luck . . . dare to live outside of the safe zone as a talent.  Make bold choices when it comes to your career; they can still be respectful and tactful, of course (you want to maintain those friends and have an overflowing social circle, too).  Next time you're in an audition and start to second guess yourself, remind that inner voice that 2013 is going to be a year of risk and tremendous growth!  Then let go of your fears, worries, and concerns, and just trust your gut.  Make the choice that is daring because that will almost always be the most interesting!

Be careful most of the day, but be sure to take a risk!

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26 REASONS WHY YOU DIDN'T GET THE PART

The Avenue's own Susan Miller and David Ditmore shared this article from Backstage Experts writer Amy Jo Berman.  Read below for more on a seasoned professional's insight into what you are lacking.

 

Yes, I’m writing about why you DIDN’T get the part. Yes, even though your audition was amazing and you were totally on your game and you lit up the room with creative acting genius, you still might not get the part. I know, I know…you’re probably thinking, but Amy, you are always so positive. Why are you talking about something negative?

First, it’s not negative to understand why you didn’t get a job because it will free your mind of all that monkey-mind chatter that happens when you find out you didn’t get it. Second, and this is the important part so pay attention, it doesn't matter. By the end of this article, I hope you understand that.

Since this is one of the most frequently asked questions I receive and the one that hangs you up the most and twists you into knots as an actor and a creative being, let’s get into it.

Based on my years and years of experience as a casting director in film and television, these are some of the reasons you didn’t get the part.

 

 

 

1. You’re too tall.

2. You’re too short.

3. You’re too pretty.

4. You’re not pretty enough.

5. You’re too fat.

6. You’re too thin.

7. You’re too blonde.

8. You’re not blonde enough.

9. You’re too old.

10. You’re too young.

11. You’re too serious.

12. You’re too funny.

13. You look too much like the lead.

14. You don’t look enough like the lead.

15. You’re taller than the lead.

16. You’re shorter than the lead.

17. You remind the producer of his sister, and he hates his sister.

18. You are too ethnic.

19. You are not ethnic enough.

20. You were the first one to read that day.

21. You were the last one to read that day.

22. You’re more like the best friend than the lead.

23. You’re more of a lead than the best friend.

24. You’re too character-y.

25. You’re not character-y enough.

26. You look like the director’s wife and he had a fight with his wife right before he left the house this morning.

Okay, this is a small sample of the some of the reasons you didn’t get the part. Have you heard any of these after one of your non-bookings? Can you tell what the one common thread is among this small sampling of reasons?

None of these are within your control. NONE.

Yes, of course there are many other things that are within your control . . . but these are the ones that drive you crazy. Right?

What you must understand is that your only job in an audition is to do your best work. Everything else is not up to you. The role you are reading for is one piece of an entire jigsaw puzzle. It must fit with the rest of the puzzle or the puzzle won’t work. The casting director, producer, and director are fitting pieces of the puzzle together all day long. Your only job is to be the best “piece” you can be. Whether your edges fit in the slot for that piece is not up to you.

Just go to your audition. Do your best and let it go. If you’re good, they will remember you. And the next time you hear one of those things, remember these words, let a knowing smile creep over your face, and go enjoy your day!

Amy Jo Berman is former Vice President of Casting at HBO and for 14 years has overseen the casting of over 150 films, mini-series, and series. She is the founder of Audition Polish, a membership-based audition coaching program that has helped actors around the globe nail their auditions on the first take. Using her 18+ years of technical audition experience in the casting room, Amy has helped thousands of actors with her tele-classes, private coaching, workshops, and seminars. Amy loves staying in touch with actors on social media. Watch her video acting tips on Youtube, join her Tips On Acting community on Facebook and get her VIP event updates here.

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THE GATE KEEPER

Before you storm the castle with swords ablazing, do know who guards the gate?  He or she is more than you might give them worth!  Who is the gate keeper, you ask?  He or she is the person you go through in order to get in contact with the actual person you are seeking.  This might be a coach, a casting director, an agent, a director, or someone at an ad agency.   That person answering the phone, responding to emails, or setting appointments can be your best friend or worst enemy.  Usually, that choice is up to you!

We encounter gate keepers in our every day life, which is a great forum for practice.  If you trip up and lose your temper, it's better done with a postal worker than with someone that might hold the power to help move your career forward.  Keep in mind that whomever you are first exposed to when seeking someone's attention, they are not just a receptionist or assistant.  Anyone who has ever had an assistant or similar help can tell you how important that person becomes to the employers' daily success.  In sales, one of the first things we are taught is how to communicate with our friend, the gate keeper.

An industry professional shared this story with me recently:  My assistant was out on leave temporarily, so I was answering her emails.  One of them was from [names will be spared, so we'll call him/her Tracy].  The email was very hateful and demanding about why they hadn't been able to set an appointment with me.  The emailer accused my assistant of being incompetent. 

Of course, this simple action put Tracy immediately in bad graces with his/her hopeful new relationship.  If and when they ever meet, every action afterward will be tainted with the reminder that Tracy lacked tact and professionalism.  If they never get to meet, it will only be Tracy's own fault.  Sadly, Tracy probably won't ever know why.

We all tend to be on our best behavior with those people with whom we want to maintain a positive relationship and show our best face.  Sadly, we don't always share that same respect with their staff and helpers.  Change your perspective to approaching those who can help your career -- right along with their entire staff and circle of acquaintances -- with the utmost respect.  A friendly gate keeper on your side can ease the transition to getting what you really want in the end!

HOW IMPORTANT IS SLEEP?

“You are what you eat” is as true when you turn in at night as it is the rest of the day. The foods you choose may improve sleep quality and help prevent insomnia.

Research shows that sleep affects diet and weight. In particular, lack of sleep may wreak havoc with your eating habits, amp up your appetite, alter your metabolism, and increase your odds of becoming obese. Emerging evidence suggests that the reverse may also be true: Diet affects sleep. In particular, smart food choices may help you get a longer, sounder slumber.

What the Research Shows

In a 2012 article in Nutrition Research, scientists from the University of Helsinki concluded that a sleep-promoting diet should be balanced, varied, and rich in:

• Fresh fruits
• Vegetables
• Whole grains
• Lean proteins

This type of diet provides plenty of B vitamins and the amino acid tryptophan—two things the body needs to produce serotonin, a neurotransmitter that helps regulate sleep. To make the best use of tryptophan, the body also needs ample carbohydrates.

What It Means for You

So what does that mean for everyday food choices and eating habits? Recently, I chatted about this with Amy Jamieson-Petonic, MEd, RD, a registered dietitian at the Cleveland Clinic Wellness Institute and spokesperson for the Academy of Nutrition and Dietetics. Below are her tips on how to choose foods that boost serotonin levels and get your brain and body ready for a restful night’s sleep.

Q: Are all carbs created equal when it comes to sleep?

Amy Jamieson-Petonic: No, different types of carbs affect sleep differently. Choose complex carbohydrates—the type found in 100 percent whole grain breads and pastas, oatmeal, brown rice, and dried beans and peas. On the other, avoid simple carbohydrates—the type found in pastries and other sugary foods, white breads and pastas, and white rice. When you eat these foods, you get big spikes and dips in blood sugar, and that doesn’t promote healthy sleep.

Q: What are some good choices for a bedtime snack?

Jamieson-Petonic: I recommend pairing a little protein with a complex carbohydrate; for example, natural peanut butter on a few 100 percent whole grain crackers, low-fat cottage cheese with a few 100 percent whole grain pita chips, or a little turkey or chicken on a mini whole wheat roll. Remember: This is meant to be a snack, not a meal, so keep it small.

Q: Why does the size of a late-night snack matter?

Jamieson-Petonic: You don’t want to add too many calories, of course. In addition, you don’t want your body busy digesting a big meal while you’re trying to sleep. It’s best to finish your last full-sized meal of the day at least three hours before going to bed.

Q: Does warm milk, herbal tea, or an alcoholic nightcap help?

Jamieson-Petonic: Just like Mom said, the combination of protein and carbohydrates in milk may soothe you to sleep. There’s also some evidence that chamomile tea may combat insomnia. But drinking alcohol close to bedtime can backfire. Although alcohol may help you nod off initially, it may also wake you up in the middle of the night and keep you from feeling rested and refreshed in the morning.

Psychology Today's Linda Wasmer Andrews writes "Minding the Body: The guide to health and happiness."  You can read the full article here.

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WEARING YOUR GAME FACE

Did you know actors and models are hired on the most subjective criteria?  No one can ever guess what will determine a decision-maker's mind, but there are some things you can do to swing luck in your direction!  So the question is . . . do you have your game face on?

 

Here's a career tip from a Casting Director which some smart actors use with proven results, but which every actor can employ to their benefit:

To start, assume you're being sent out for an audition.  Your role reads:  happy, approachable, perky.    Can you walk into a room with a big smile.  Do you look perfect; like a winner?  Do you have a good "aura"; are you able to send out positive vibes? Do you turn heads?

That's your "role" as an actor.  You assume this role when you walk out the door that morning.  No thunderclouds over your head (with a permanent bolt of lightening).  You stay in character throughout the day, wherever you go, whatever you do, whomever you meet.  (Do you know how to walk down the street?  REALLY walk down the street?  Stars do - they practiced doing "it."  And everybody gravitates toward them - wanting to be in their aura.)

Keep in mind that you run into "the industry" on street corners, in subways, in the supermarket, in the most unexpected places.  Don't let them catch you out of character, looking disheveled or like you're having a bad day.  It can be a potential deal breaker, sooner or later.  We're always on stage.  Not to mention the emotional weight of being in a funk and then trying to get out of it for the few minutes you are in the casting room!  Energy is more often felt than we realize in subjective and emotional industries especially.  It isn't something you can force or pretend -- it's either there or it's not.

You step out of character only when you return home, if you choose.  Then (and only then) you may assume your evil twin, descend into that terminal depression, morph into a slug, whatever.  But at that point, it's OK.

Tomorrow, repeat steps above if you need to practice this character more.  In this case, it might even make you a more likeable person, build your network, and you could even find new friends! 

Thank you.  And the world will thank you, too.   Not to mention how many more jobs you'll magically get!