Producers are also scrambling. It used to be if you saw an actor you liked you brought him back in for a callback after you’ve seen a sizable number of applicants. Now you may see an actor you like at 11 AM and learn he’s going in to be tested for another network pilot at 4 PM. If you want him, make a deal and get him in to see your network before 4. If not, you might lose him. On the other hand, you might be pressured into hiring someone you might not be totally sold on. And there’s always the chance you let the actor test for the other network and he doesn’t get the part. He’s suddenly available again. But it’s a game of high stake poker.
Among the many acting courses that are taught here in LA are classes that specifically teach you how to audition. I suppose they’re helpful. I’ve never cast someone who took one of those courses, but that could be coincidence. How these instructors think they know what I’m looking for in an audition is beyond me. On the other hand, there are wonderful actors who just freeze up during auditions and as a result don’t get hired. I could see where one of these courses might be very valuable for these people.
One danger in racing from audition to audition is that you go up for so many roles that after awhile you forget what you did where. When a producer hires an actor he expects him to give the same performance he saw in the room, but actor friends of mine have said there are many times they get hired and have no idea what they did to get that particular role. “Was this the one I was laid back and cool, or was this the one I was real intense?”
Every producer has his own style of casting. And every producer has his own expectations. I can just tell you my tips based on years of casting.
Don’t come in with a shtick. I’ve heard theories that actors should do something crazy to be noticed. 99% of the time you’ll be noticed in a bad way. Just come in, very professional., say hello, shake hands if the producers extend theirs (I always do; a lot of producers don’t), do the scene, thank everybody, and leave.
Don’t spend the first five minutes telling us how hard it was to park or how hard it was to find the office.
If you have questions about the scene or the character or the intent, ask. We’re happy to point you in the right direction, or at least steer you away from the wrong. It’s also quite acceptable and even encouraged to ask, “Is there anything I should know?”
After you do the scene, offer to do it again with any adjustments the producers might have.
Don’t be all “actory.” Don’t face the wall and come out swinging like a boxer. Don’t stare off into space for two minutes while you try to locate your emotional center. Don’t let out a war chant to psyche yourself up before beginning the scene.
Don’t come in wearing an elaborate costume or drenched in blood (unless it’s yours).
Don’t memorize the scene. Read from the script. You get no points for memorizing and most of the time you’ll forget words, paraphrase, or make shit up. I want you to concentrate on your performance, not memorization. Hold the script in your hand and sell it.
Don’t make up dialogue, and especially don’t make up monologues. This happened once to us. I should also add at this point – don’t audition when you’re stinkin’ drunk. Especially at 9:30 AM. This was for BIG WAVE DAVE’S. The character was a colorful free spirit who migrated to Hawaii. This plastered actor starting reading the scene and then stopped right in the middle. That sure caught our attention. What the hell was he doing, just staring at us? Finally he spoke. “Pussy!” he yelled at the top of his lungs. David and I were taken aback. Neither of us could remember writing “Pussy!” into the script. The actor then launched into a long monologue about Hawaiian women and how to get them into the sack. None of it was usable – not that we were looking for ways to get our actors to randomly scream out “Pussy!”
Don’t tell the producers what’s wrong with the script?
Don’t tolerate any inappropriate behavior from the producers. This is not some “indie” project. This is a major network pilot casting legitimate SAG members. If the audition process is anything less that totally professional, you have a right to complain to your agent, manager, or whomever. Especially now in the "MeToo" era.
Don’t be late.
Don’t just assume we recognize you from the soap opera you’re on or the Flomax commercial you’ve done.
And finally, remember that we WANT you to succeed. Every person who walks through the door we’re hoping is the one we’ve been looking for. So take a little of the pressure off yourself.
Best of luck, and if this is all the stuff they tell you in those audition classes I want $150.
from By Ken Levine
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