HOW TO AUDITION FOR COMMERCIAL CASTING DIRECTORS! http://ping.fm/3xJL3

How you can Navigate your way through a Casting Directors Auditions!

AUDITIONING FOR COMMERCIAL CASTING DIRECTORS, DEMYSTIFYING THE PROCESS!

WHAT ARE COMMERCIAL CASTING DIRECTORS LOOKING FOR?

PICTURES-RESUME-REEL-PERFORMANCE

PICTURES:

Commercial Casting Directors look first and foremost for a picture that conveys TYPE. Commercials are usually anywhere from 15 seconds to 1 minute in length. Type must be conveyed IMMEDIATELY. The viewers cannot be distracted from the commercial message by wondering why someone portraying a housewife looks more like a femme fatale or why a Wall Street Banker looks like a Surfer dude.

CASTING DIRECTORS WANT ACTORS TO KNOW THEIR OWN TYPE:

One of the most crucial tasks of a Commercial Actor is to identify their Type or Types.

An actor must think like a Casting Director and find out the way MOST people would ‘typecast’ them. It’s important to remember that while this is a ‘judge a book by its cover’ shallow way of looking at a person, it is essential to getting work in television commercials.

An actor must take a serious look at themselves as if they were a product to be marketed. 

The family and friends of an actor may not want to tell them that the type they resemble may be a ‘glutton’ or a ‘geek’ or a ‘fool.’  Remember that those types and many other seemingly uncomplimentary types are highly marketable in the commercial world. The actor may have to turn to their agent, their acting coach or acting workshop peers for an honest appraisal.

WATCH COMMERCIALS, LOOK FOR YOUR TYPE.

Some actors choose to believe that they have no type and that they can play any role with the right preparation. While this may be true in films and television, it is not true in commercials.

Once they have identified various TYPES the Casting Director then looks for that magnetic, engaging, charismatic quality that draws them to an actor. This quality which we can call CONNECTION, is usually found in the EYES of the talent. They say the eyes are the windows to the soul. In casting especially, this axiom holds true.

Agents often want their actors to put up pictures that represent multiple facets of the actor. Different looks, attitudes, hairstyles, types. Casting Directors however, recommend avoiding TOO MANY pictures on an actor’s online profile. Some Casting Directors report that the large amount of pictures leave them confused about the actor’s real current look/hairstyle/type.  Here is a case where less may actually be more.

WHEN TO CHANGE YOUR PICTURE:

You must look like your picture.  If you haven’t changed hair, weight, wrinkles etc. you can keep the pictures. If you do have a change, be honest with yourself. Update your pictures.

RESUME:

Remember  NO LYING on resume.  DONT LIE about SPECIFIC SKILLS. DONT LIE ABOUT UNION STATUS. These are the kinds of lies that cause extreme problems and have shut down productions and cost incredible amounts of money to productions. Casting Directors do talk with one another and even have an association. And too, they may have worked as a CD or as an assistant on a casting for a commercial on which you say you’ve worked. Always tell the truth. If you don’t it will catch up with you.

Do not LIST COMMERCIAL CREDITS in your Resume.

It may confuse the producers. Your car commercial may be 10 years ago but the producer sees it on your resume and thinks you have a conflict, doesn’t hire you.

CONFLICTS:

If the commercial is running, (including holds with holding fees) you cannot do another commercial with the same TYPE of product, i.e. Cant do Toshiba DVD Player and then a commercial for Panasonic DVD Player at same time.

GETTING REEL:

The term REEL comes from the film reels used in movie projector systems. Even though we are now in the digital age, an edited digital video showing the highlights of an actor’s work in film or tv or commercials is referred to as their ‘reel’ or ‘demo.'

There are so many sites online to post a reel. However, Commercial Casting Directors in Los Angeles tend to use very specific online casting services to communicate with their hiring producers. Agents and Casting Directors communicate through these online websites. These sites include but are not limited to ActorsAccess.com, LACasting.com, NowCasting.com, CastingFrontier.com and CastingWorkbook.com .

Casting Directors request submissions from Agents on these sites and EXPECT that the Commercial Actor will have their Commercials Reel uploaded on these sites.

It is often too difficult for the Casting Director to try to incorporate the acting reel that is posted on Youtube or other services simply because it does not come pre-packaged with the PICTURE and RESUME that are on the previously mentioned websites. This makes it cumbersome for the Casting Director and the Producer to communicate efficiently.

The Producer wants to see all the online Reels or ‘Demos’ in one easy to access website. Some Casting Directors complain that some truly stellar, established actors fail to put their reels on these sites and are often NOT chosen simply for this reason alone by the producers.

SUBMITTING AGAINST REQUESTED ROLE TYPE:

Some actors will self-submit or try to convince their agent to submit them on a commercial role which clearly does not match their type. They operate on the logic that “perhaps the Casting Director will think of me for something else even if I’m not right for this.” In fact, the only thing the Casting Director will remember will be that the actor submitted themselves on the wrong role, despite clear specifications. The Casting Director will not call the actor in. They will simply call into question the actor’s grip on reality.

TREAT AN AUDITION LIKE A PRIVILEGE

Commercial Casting Directors now receive anywhere from 1,000 to 2,500 submissions on every role.

Be there, be on time. Can’t make it? Don’t no-show. Call your agent! IN ADVANCE!

Getting chosen to audition, pre-read, go on tape is a PRIVILEGE, not a right. If you are chosen you are usually 1 out of 20 to 50 chosen. Think about that—from 1,000 up to 2,500 submissions—and you and 19 or 49 other actors are called in from those huge numbers.  So either way, that means only 2% of all actors submitted get chosen TO AUDITION for each role. From THAT 2% only 1 out of 50 are CAST. That’s 2% of 2% which is .04 % of 100% of all submitted actors.   Those are the odds.

What does this mean to the actor who is chosen to audition?

It means BE THERE. BE ON TIME. PREPARE. STUDY YOUR MATERIALS. KNOW THE SCRIPT, LEARN IT. MEMORIZE IT. You can work on adjustments, not working on reading off paper.

Ask the question about anything in the script you don’t understand. You may ask ‘how tight is the frame?’ That may affect how broadly you perform or how intimate you make it.

WHAT HAPPENS WHEN AN ACTOR IS LATE:

The Casting Director is forced to add more talent later in the day. This in turns makes the Casting Director’s day longer. It also potentially forces them to pay ‘overages’ for union actors who had to wait over an hour for THEIR audition because the latecomers were squeezed in later than their scheduled time.

Another problem caused by the late actor: Often Casting Directors are putting together teams of actors: couples, families, parents and children OR different ethnic families,  or different languages. In order to film the audition, they may need the Asian talent showing at 10am to match with one another, the Spanish Speaking talent showing up at 11 to be matched for their commercial audition and so on.

When an actor is late, s/he he not only slows down one audition but ALL auditions for that day. They end up sabotaging the other actors who would be matched with them for the filmed audition.

WHO SHOULD THE ACTOR LISTEN TO AT AN AUDITION?

Listen to the Producer, Client, Casting Director, the Casting Associate, the Casting Assistant, the Camera Operator/Session Director.

ITS NOT YOUR MAKEUP THAT YOU’VE GOT TO IMPROVE, ITS YOUR ATTITUDE:

Remember be upbeat from the moment you walk into the Casting office to the moment  you depart.  NO WHINING.  NO RUDENESS. 

Lots of Casting Directors have cameras in their waiting rooms. You are ON from the moment you walk in.

HOW TO BEHAVE IN THE CASTING ROOM:

Again, be upbeat. Minor, quick chitchat is acceptable but READ THE TEMPERATURE OF THE ROOM. If you float a little conversation and no one responds or you are met with curt, abrupt answers, check your gut instinct—it probably means they want to get down to business.

If you have an important question that will affect how you perform the piece, make it brief and to the point.

Do not offer physical contact with anyone in the room unless they offer it to you first. In normal civilian life, people offer handshakes but the volume of people seen by Casting Directors does in fact make them vulnerable to communicable illnesses (colds, flu) and thus many CD’s and producers, directors do not wish physical contact.  If you know someone, a wave or a hello is fine, or a quick reminder of the workshop where you met previously.

Avoid attempts at manipulation or creating guilt for the Casting Director:

Examples include but are not limited to: telling the CD how long it has been since you last were called in, questioning the CD on why you didn’t achieve a role on the last audition or who did, commenting on the change in office since you were last there, changes in Casting Directors looks, wardrobe, hairstyle, etc. These can all be misinterpreted as criticisms.

Be sure your hygiene is impeccable. Bad breath, body odor, heavy cologne—all of these can be deal breakers no matter how wonderful your performance.

SLATING:

Slate with your own name, not the character. Be yourself until the scene starts. Smile, show a little personality, slate. Then go into character. If you're negative about the slate, they’ll have it on tape, if you're slating at end, again be positive,

SCRIPT VERSUS IMPROV

Casting Directors in general do not request actors to improvise on the written word. However, many Casting Directors appreciate when an actor makes a strong choice. This could be expressed in body language, voice tone, a look, a pause,  attitude toward another character or even a word or two not found in the script. Essentially the actor brings a personality and a ‘back story’ into the scene.Be careful here with adding language. Directors, writers, unions are sensitive about that sort of thing. But everyone is looking for a talent who can bring something unique to the reading. Whatever your ‘strong choice’ is, it must be brief. Commercials must convey lots of information within a very short period of time.

Remember that there are times when the Casting Director doesn’t know WHAT the Director wants from the actors. Perhaps the Director was vague in his/her descriptions for the scene. Here again, prepare, look carefully at the script, look at the storyboard if it is available at the Casting office and make strong choices. But beware, AVOID OVERACTING.

Many talented actors make the mistake of OVERACTING, or acting TOO BROADLY (as if they are trying to reach the back rows at Carnegie Hall). Strong choices do not mean overpowering the scene.

Many new commercial actors don’t realize that commercials have become more subtle, and more real, more intimate in recent years. These actors will often hear statements like “Make it smaller,” or bring it down” or “make it more subtle”. If you hear these things, its time to take a commercial class.

One way to gain a better understanding of what Directors are seeking in commercials, films or television is to take a Directing Class.  You will gain a better understanding of how directors view actors as one piece of a larger picture. This will help the actor to make choices which enhance the entire commercial and not their own ego.

WHAT IF ANOTHER ACTOR WHO IS PART OF YOUR VIDEO AUDITION SCENE IS PERFORMING POORLY?

In the rare case when another actor in your audition scene (not the reader hired by the CD) is performing poorly, wait until the audition is over and privately request if you can do the scene with another performer. If it is obvious to the CD, they will agree with you. The CD does not want to send a poor performance to their producer.

HOW CREATIVE CAN ACTORS BE IN AN AUDITION?

Remember that the Casting Director has discussed the prepared script with the Director before you were chosen to audition. There has been much discussion with the Session Director/Camera Operator.

Your creative choices could start with the rehearsal. If they like it in rehearsal, go with it. Also remember that there are usually two ‘takes’ filmed of the same scene so you will have two opportunities with the scene. Be sure to make different choices in the 2^nd take.

PROJECT CONFIDENCE:

Never apologize for a first or second take.  The Casting Directors want to see you in different ways.

Avoid worrying about the following situations:

You see a storyboard in the waiting area and the character looks nothing like you. The artists who draw these storyboards are often contractors and may not have all the information needed when drawing these pictures.

You see different ethnicities, ages, body types etc. sitting in the waiting room. They all look one way, you look different than they do.  Rather than worry, consider that the decision makers may have found you SO unique that they went against type purposefully; that they haven’t made a final decision on type and you may be the actor that finalizes the decision to go in a new direction with the type.

Remember you are there for one reason, to do what you love, to perform, and then to let go and move on to your next project until you get that wonderful call..

So stay focused on your job.

WHY ARE CASTING DIRECTORS IN SUCH A RUSH?

Today Casting Directors are given shorter lead times to accomplish their jobs by rushed producers. They are also given smaller budgets to accomplish their castings. In order for some of the Casting Directors to sustain their businesses, they must move quickly in order to complete lower budgeted castings. This allows them to move to their next producer’s casting and thus they can make up for lower budgets by working on a higher volume of castings.

Because of this need for speed, Casting Directors appreciate actors who can come in with a minimum of fuss, who know how to behave in the room, hit their marks, are prepared and memorized, and know how to leave in an elegant, classy way.

GET IN, GET IT ON, GET ON OUT.

DO CASTING DIRECTORS LIKE ACTORS?

Casting Directors LOVE actors. Casting Directors WANT ACTORS TO GET BOOKED. Casting Directors want to be proud of the actors they’ve chosen to audition. Casting Directors that call actors in multiple times are ROOTING for those actors, they BELIEVE in those actors. They just rarely have the final say on the hiring decisions.

CD's rely on talent to build an amazing reel for Producers.

DO CASTING DIRECTORS LOOK AT ALL SUBMISSIONS?

The electronic submission process has democratized the submission process and most Commercial Casting Directors report that they look at ALL pictures (often taking their jobs home with them late into the night). Do Casting Directors have Agencies and Agents that they trust? Certainly. But they also like to discover the unknown actors from the smaller and boutique agencies.  They leave no stone unturned. Big agency or small, they will look at all submissions from agencies.

DO DIRECTORS LIKE ACTORS?

Yes, they do. Many directors keep their own lists of actors from previous casting events and ask Casting Directors to bring them in when they do future commercials.

WHO  ARE THE DECISION MAKERS IN A CASTING?

Once a series of auditions have been put on video by the Castnig Director, they are put on a DVD  which is sent to the Director, The Advertising Agency (which can include up to 8 people such as
Creative Director, Creative Supervisor, Account Director, Artistic Director, Producer, Writer). Finally at a pre-production meeting, they are presented to the Client/Brand.

Casting Directors do in fact have favorite auditions and they will make suggestions as to favorites and backups. CD’s don’t like to refer to anyone as back up however because, often, the backup is booked for the commercial.  Often they will simply indicate that there are 2  talent up for the role.

Sometimes, the Director is very busy, and may give the Casting Director the job of picking the actors. This is a challenge for some Casting Directors because they DO in fact LOVE so many of their talent.

WHAT IF AN ACTOR ISNT CHOSEN TO AUDITION?

Some actors wonder, “Can I put myself on tape with the commercial script and send it to the CD?”

The answer, sadly, is no.  Because of the short lead time (sometimes only 1 day) Casting Directors don’t have time to review additional tapes of actors.

CALL BACKS and ALL BACKS

Sometimes due to very small lead time, a Casting Director does not get enough information from the decision makers in a timely manner so that they must call back many talent to producer sessions.

AT THE CALLBACK:

When you feel ignored...just wait, be open, alert. You dont have to entertain or tell jokes, dont be offended if the people in the room are eating, talking on the phone, checking their internet...do not comment on it. Go with the flow. Trying to correct the manners of the people in the room will be a minor victory and a major loss—of the role.

In terms of performance: DO WHAT YOU DID BEFORE...but what if you did it several different ways on tape? Just remind them and tell them you'll do it a particular way but that you have several interpretations available.

LOTS OF CALLBACKS, NO BOOKINGS

If you find yourself always getting Called Back but never booking, its time to take a refresher acting course. Additionally, keep a journal of what you wore, what you did, what you said, what others said. You may discover unconscious patterns related to your behavior in the room that are self-defeating.

PUTTING AN ACTOR ON AVAIL

The casting industry uses several terms to request an actor keep several dates open in case they are chosen. These terms include “put the actor on avail” or “we need the actor availability for these dates” or “put a pin in them for these dates.”

Sometimes all choices are put on avail (Blanket Avail) due to lack of feedback from decision makers. Other times only 2 or 3 actors are ‘put on avail.’ (Strong Avail)

CONTACT FROM ACTOR TO CASTING DIRECTOR:

Many Casting Directors prefer mail to be in the form of a Picture Postcard. This is the easiest for CD's to review.

REASONS TO SEND A POSTCARD:

You are appearing in a solid theatrical production.

You have taken time away from a previously successful commercial acting career and are now coming back. Let them know about your active status at younger age.

(part of the reason this is helpful is that Casting Directors don’t want to choose talent who end up FREEZING on SET. The lack of confidence that comes from lack of experience can be very very costly to a production. This causes great embarrassment to a Casting Director and to Agents)

Some Casting Directors want to know what Reality Shows you have appeared in.

We hope this information will help you to better understand the process of Auditions and Casting and demystify the hard work of the Hollywood Casting Director.

Sincerely,

Ross Grossman
Director
Affinity Artists Agency
Licensed, SAG/AFTRA/AEA/WGA/DGA/AFM
 

IMDB: http://www.imdb.com/company/co0085304/ 
IMDBPRO: http://pro.imdb.com/company/co0085304/ 
WEB: http://www.affinityartistsagency.com 
WEB: http://www.affinitytalent.com 
FACEBOOK http://www.facebook.com/AffinityArtistsAgency 
LINKEDIN: http://www.linkedin.com/in/affinitytalent 
TWITTER: http://twitter.com/affinityartists