The Successful Talent: Tips for the Actor & Model

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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2012 HOLIDAY PARTY!

This year's holiday party was a blast.  We celebrated a roster of talent who had amazing years, break-through moments, and of course, of MVP money makers!

A special thanks to the generous professionals who donated their services for prizes this year, including:

1. Michael Gomez Photography, who donated a free 2 look headshot shoot and a 3 look full modeling portfolio shoot. (Check out WestLight Studios on Facebook.)
2. Alan Dysert, who gave a free commercial workshop class. (To work with Alan, visit The Actor's School.)
3. Caroline Locorriere, who opened a spot on her wait list for her scene study workshop at the Actor's Studio in Nashville. (to work with Caroline, visit www.nashvilleactingstudio.com)
4. Holly Allen, [Casting Director, Actor, and Coach] who donated a free 30 minute skype coaching for audition prep.
5. Steve Flanigan, who opened a spot in his 12 week acting workshop class.
6. Deanna Porterfield of Balance Massage gave two free 60 minute massages to relax those nervous & tense muscles. (To relax with Deanna, contact Balance Massage on facebook.)
7. Jennifer McCoy BS ACSM, personal trainer at One Body One Life, who agreed to work with two talent for free 30 minute training sessions. (To work with Jennifer, email her at jennifer@body1life.com.)

The Avenue Agency's talent who stood out this year include Alice Raver, Holly Allen, Stephanie Gamonet, Emily Landham, Diana Moseley, Jared Carter, Steve Caviness, Rusty Whitener, David Ditmore.  Each one of these talent stood out as a high money earner, had a break through that brought them to the next level in their career, or booked a major project, so keep an eye out for them on your favorite tv shows and moves yet to be released!

Check back for updates on who the lucky winners of our holiday party prizes will be!

Thank you to each talent, producer, director, freelance staff member and industry professional who graced us with their presence this past weekend.  We look forward to another great year in 2013 with each of you!

The Avenue Agency's David Ditmore and Stephanie Gamonet.

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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?

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.

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.

BEST ACTRESS AWARD

Drum roll please!    And the winner is . . . .

It's impossible to flip through the Nashville Scene without noticing the depth behind these eyes.  Emily Landham, a working on camera and theatre actress was presented with the BEST ACTRESS by Martin Brady in the Scene's "Best of Nashville 2012" issue.  What did Martin have to say about Emily's year thus far?

BEST ACTRESS: EMILY LANDHAM
Landham recently fractured her leg rehearsing Shakespeare. If that doesn't attest to her all-out approach to her craft, then her performances in three major shows in the past year certainly do. Her brilliant Juliet in the 2011 Shakespeare in the Park production of Romeo and Juliet was followed by a classy turn in Tennessee Rep's major effort with Arthur Miller's All My Sons. Then Landham starred in Studio Tenn's acclaimed 2012 revival of The Miracle Worker as Annie Sullivan, a role that's as strenuous as they come. (Fortunately, Emily was working with two good legs at the time.) We hear she's on the mend, positive news for Nashville theatergoers. (But so much for "break a leg.") —MARTIN BRADY

Emily may have been slowed a tad over the summer due to her big break, but in the past few weeks, she has been busy reading for multiple movies, episodics, and commercials continuing to pursue her on camera endeavors.  She is also launching a non profit locally, so watch for more to come on how you can be a part of giving back!  Emily's well rounded business approach in building her craft, her community, and the lives of others is worth watching and following for any aspiring actresses / actors.

To read the full article, including other accolades, visit the Nashville Scene's Arts, Music, and Culture article.

 

YOUR EMPIRICAL AGE

Just today, I had a talent walk into the office telling me a story about being asked her real age during a casting session.  She is the exception to the rule in that she does not play anywhere near her real age, but she decided to answer the question with her legal age.  The Casting Director and she had a short and kind conversation about her not fitting the client's requested age range.   She was advised she would not be submitted because the CD did not want to have to lie to the client, should the client directly ask.  No one did anything wrong, so why isn't she being considered for the gig?

In an industry of perception, these words from NYC casting director Scott Powers are timely!

If you haven't been on the receiving end of this question yet, you will.  How you deal with it is critical to the future (productive or destructive) relationship between you and the person asking for this intrusive information.
 
Keep in mind we're in a visual industry.  What you look like is a big part of being submitted and booked for jobs.  This includes your age - your empirical age.  If you truthfully look 35 - 40, but are in reality 65, you should be submitted for 35-40 year olds.  Not for roles that are looking for 65s.  You don't look that age, so you shouldn't be going out for them.  You will not get that 65 year old part!  You will be wasting your time and your energy.
 
The age question comes up often in agents' interviews.  It's also on a lot of stat sheets.  That doesn't mean you necessarily have to answer the question specifically.  We never advocate lying, but did you know it's against the law to ask your age as a condition of employment, with the exception of alcohols, tobaccos and certain pharmaceuticals?  
 
Here's the smart way to handle the question of what your age is:  put down or tell them the middle year of your age range.  In dead earnestness, as if your own mother doesn't know how old you are.  We all try to get the skinny on you.  Now "they" think  they got some illicit information about you.  "We know how old she really is!"
 
Step two of this process, determining what is your empirical age range.  This is not the time to get too creative crazy.  As a rule of thumb, age ranges tend to be max in a 10-year range (for older actors) down to a few years (for younger actors.  Each year on an older actor is not as specifically registered as on a  younger person.)  To be objective on this, you don't do the numbers.  Have a trusted agent, casting director or manager do this.  Ask more than one and get an average.
 
BTW, did you know you'll drop to the bottom of your age range (the youngest you'll look) when you are smiling?  So on those oh-so-blue days we all have, smiling will make you the youngest you can be.
 
Every few years, recalibrate your age range so you stay current and competitive.
 
AND, now you will be submitted for roles that are truly age-appropriate for you.  AND will continue to have a constructive, rather than destructive, relationship with whoever is doing that asking.

No one in the casting room is going to bother with checking an ID in most cases.  (You shouldn't be taking unnecessary materials in with you anyway, so leave it outside.)  You're an actor, after all!  It shouldn't be difficult to convincely state your character's age if you are in character.  The casting session isn't about you -- it's about your character!

Have your [birthday] cake and eat it, too!  What age are you playing?

GOOD ACTORS. BAD CHOICES.

One of my personal favorite bloggers is Back Stage's Secret Agent Man.  In the following post on his blog, Secret Agent Man poetically clarifies why good actors do bad things . . . and how it ends up sabataging all their best efforts and intentions.

I met Lucifer in a bar the other night, and he confessed that he likes to put bad ideas in the heads of smart actors. Curious, I asked why he did this. The author of all sin smiled. “Creative people annoy me. Just look at the so-called great works of art that claim to capture my image. You would be upset too.”

Lucifer had a point. The man in front of me wasn’t a horned monster with a red tail. He actually looked a little like Jeremy Irons.

We ordered another round. My new friend went on to explain that actors are especially open to suggestion because they’re such desperate beings. “Convincing them to get in their own way requires little more than a whisper in their ears.”

I was stunned. Actors are always cutting their own throats for no apparent reason. Could the devil himself be the root of all that self-destructive behavior?

Just last week, a client shocked me by ruining an opportunity I created at her request. Clara, an established actor in her 40s, had been begging me to get her in the room for one of her favorite TV shows. So when the right part crossed my desk, I convinced the casting director to give her a shot.

The show’s office was on the Universal lot, up in the Valley. Since it was hard to find, casting sent me a detailed map with parking directions. I told Clara to leave early, just to be safe.

After the audition, she was in a state of shock. Everything went wrong, and it was all her fault.

Here’s what happened. Clara barely glanced at the map before leaving her home. She just assumed it would all make sense when she got there. Well, it didn’t. Clara couldn’t find the right parking structure so she left her car in the wrong place, a spot which was half a mile away from the casting office. And this was on a summer afternoon when it gets past 100 degrees in the Valley.

So she arrived at the audition 20 minutes late, covered in sweat. There was no time to waste because the director had to leave, so casting rushed her into the office. Naturally, the audition didn’t go well, and now it’s going to be a hundred times harder for me to get her back in the room.

When I asked Clara why she had behaved in such an unprofessional manner, she wasn’t able to give me an honest answer.

I finished my drink and turned to Lucifer.

“Was that you?”

He grinned.

My mind started to race. I remembered the time I had to drop a young client because he was badmouthing me in public. The idiot had been at a workshop, waiting for his scene partner, when he decided to talk some trash. A passing casting assistant heard him and called me in the morning.

Then there was the time an actor followed me into a restaurant, interrupted my dinner, and begged me for a meeting.

And what about those clients who passed on auditions because they didn’t think they were right for the parts? Why wouldn’t they allow the casting director to make that decision? 

Or worst of all, how about all the actors who write in to Backstage, begging for a meeting with Secret Agent Man when they don’t even know who I am or where I work?

Lucifer stood up. It was time to move on. He explained that Hollywood was keeping him busy.

I had to ask.

“Will I see you again?”

“Perhaps.”

As the Prince of Darkness strolled off into the night, I made a mental note to pick up some holy water and a few crosses on my way home.

To see more of Secret Agent Man's blog posts, visit his site. 

Are you listening to the angel or the demon sitting on your shoulders?  Choose wisely!

I'M SO SORRY . . .

Agents, managers, and casting directors find it amazing that actors and models so frequently start a conversation with the words "I'm so sorry . . . "  Insert any completion to the sentence.  We've heard them all!

 . . . I didn't get the message.

 . . . I haven't checked my email.

 . . . I'm not off book (e.g., I didn't memorize my sides).

 . . . I'm late.  It's the a) traffic; b) I was up really late last night; c) nobody called me; d) my alarm didn't go off; e) I didn't know I had to be on time.

 . . . I forgot my a) headshot; b) resume; c) pen to take notes

 . . . I'm too busy right now to write down the info.  Shoot me an email!

 . . . My headshot is still black and white.  I've been meaning to . . .

 . . . I didn't return your phone call the other day.  Can casting still see me?

According to one New York casting director, these excuses send the deal-breaker signal to those who could hire a talent.  The industry doesn't hear whining excuses daily -- we hear them hourly.  No one with money behind them cares how great a talent looks or how skilled they are if the first thing we hear is multiple reasons why someone isn't up for the job.  There is always another option in the talent pool!

So knowing what NOT to do is only half the battle.  Should you ever find yourself in a circumstance where you feel compelled to start with an apology, bite your tongue.  Apologizing at that point -- after you've already done something blaringly wrong -- will not fix the mistake.  Acknowledge your failure and move past it.  Choose to hear whatever frustration is shared with you from the inconvenienced professional and then choose to only say, "Yes, I hear you.  It won't happen again."  After that, you can move on and give them reasons to change their impression (because you'll nail it despite the stress, right?).  The words "I'm sorry" have no place in entertainment.  After you leave, be sure that you follow through on never letting the mistake happen again -- at all costs.  Actions speak louder than words.  Make yourself heard through people's experiences working with you and your mouth never has to even open!

In this business, the savvy talent must remember that in order to pursue significant well-paying work, there are NO excuses.   Period.   The actor who got the job had no excuses.  Did you?