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Sunday, February 20, 2011

DRAMA & COMEDY TEACHERS, COACHES and SCHOOLS


AFFINITY ARTISTS AGENCY is always on the lookout for appropriate Acting Coaches,Teachers, Schools and Academies.  Here are a few categories of teachers in the Southern California/Los Angeles Area.  We wanted to put most of the information on these teachers all in one easy to reach place but we cannot audit each class. It is up to you, the actor, to evaluate the value of the teachers on this list.

We have put BOLD TYPE on those teachers/classes that we see on a lot of actor’s resumes.
This does not constitute a seal of approval from Affinity Artists Agency talent agency, but rather a familiarity with the work of actors that have come through our doors who have learned from these schools/teachers. As always ‘caveat emptor’ (let the buyer beware).

  Categories below include:

1. DRAMA SCHOOLS AND COACHES:
2. COMEDY AND IMPROV SCHOOLS AND COACHES
3. COMMERCIAL ACTING SCHOOLS AND COACHES
4. UNIVERSITIES AND CONSERVATORIES
5. MUSICAL THEATER
6. PHYSICAL THEATER/MOVEMENT
7. ACCENT REDUCTION
8. VOICE OVER
9. STAGE COMBAT and  STUNT
10. YOUNG PERFORMERS—TEACHERS AND COACHES:
11. FINANCIAL, SOCIAL EMOTIONAL

Read their websites and you decide...but please continue your training either way!


1.DRAMA SCHOOLS AND COACHES:

AARON SPEISER  http://www.aaronspeiser.com 
ACTING CENTER OF LOS ANGELES www.theactingcenterla.com 
ACTING CORPS www.theactingcorps.com 
ACTOR SPACE www.theactorspace.com 
ACTOR/ARTIST GROUP WORKSHOP -  www.actorartist.com 
ACTOR'S ART THEATER www.actorsart.com 
ACTORS CENTER www.actorscenter.com  
ACTORS CREATIVE WORKSHOP www.trulyacting.com
ACTOR'S PLAYPEN www.theactorsplaypen.com
ACTORS' PRACTICE FIELD - www.maggieandannie.com
ACTORS SANCTUARY www.dhtcb.com/actorssanctuary.html 
ACTORS WORKOUT STUDIO www.actorsworkout.com
ACTORS WORKSHOP STUDIOS San Diego www.actorsworkshopstudios.com
ACTORS WORKSHOP www.theactorsworkshop.com
AIA STUDIOS www.aiastudios.com
AIDA-AUSTRALIAN INSTITUTE OF DRAMATIC ARTS www.aidaacting.com
ALAN FEINSTEIN & PAUL TUERPÉ ACTING STUDIO www.feinstein-tuerpe.com
ALEXIA ROBINSON STUDIO www.alexiarobinsonstudio.com, www.arskids.com
ALLAN RICH www.allanrich.com, www.aleapfromthemethod.com
AMERICAN MUSICAL AND DRAMATIC ACADEMY www.amda.edu  
AMY LYNDON'S COLD READING/BOOKING CLASSES www.coldreadingclasses.com
ANDREW BENNE STUDIO www.andrewbenne.com
ANDREW UTTER - MOTHER OF INVENTION ACTING SCHOOL www.utteracting.com 
ANNE HULEGARD www.hulegard.com
ANTHONY MEINDL'S ACTOR'S WORKSHOP www.metatheater.org 
APPROACH STUDIO www.theapproach.net
BERNARD HILLER ACTING STUDIO www.bernardhiller.com
BEVERLY HILLS PLAYHOUSE www.beverlyhillsplayhouse.com
BILL HOWEY ACTING WORKSHOP www.billhowey.com
BLACK NEXXUS STUDIO www.blacknexxusinc.com
BRIAN REISE ACTING STUDIOS www.brianreise.com
CANDY KANIECKI HERMAN www.candykaniecki.com
CARYN WEST: www.carynwest.com
CATLIN ADAMS ACTING LAB www.actinglab.com
CHAD McCORD www.chadmccord.com
CHRIS JORIE www.chrisjorie.com
Christinna Chauncey http://www.oncameraclasses.com/
CHRISTINNA CHAUNCEY ON-CAMERA CLASSES www.oncameraclasses.com 
CIRCUS THEATRICALS STUDIO FOR ACTORS www.circustheatricals.com
CLAIR SINNETT www.actorsworking.com
CLAY BANKS FILM ACTING STUDIO www.claybanksstudio.com
CRAIG WALLACE AUDITION TECHNIQUE www.wallaceauditiontechnique.com
CREATIVE COMBUSTION ACTING STUDIO www.ccactingstudio.com
DALE REHFELD www.daleyclass.com
DANIEL CHODOS www.danielchodos.com
DANIEL HENNING www.theblank.com
DAVID KAGEN'S SCHOOL OF FILM ACTING www.davidkagen.com
DAVID LeGRANT STUDIO FOR ACTING www.studioforacting.com
DAVID NATHAN SCHWARTZ www.davidnathanschwartz.com
DEE WALLACE ACTING STUDIO www.dwsactingstudio.com
DERYN WARREN www.derynwarren.com
DIANE CHRISTIANSEN www.dianechristiansen.com
DIG WAYNE www.digwayne.com
DOUG WARHIT ON-CAMERA COLD READING & SCENE STUDY www.dougwarhit.com
DUANE WHITAKER'S FILM ACTORS WORKSHOP www.duanewhitaker.com
EDDIE KEHLER www.eddiekehler.com
EDGEMAR CENTER FOR THE ARTS www.edgemarcenter.org
ELEPHANT THEATRICAL - TRAINING LAB www.elephantstageworks.com
ELIZABETH GAMZA www.elizabethgamza.com
ELIZABETH MESTNIK ACTING STUDIO www.emasla.com
ELLEN GERSTEIN - ACTING WORKSHOP www.ellengerstein.com
ERIC MORRIS ACTORS WORKSHOP www.ericmorris.com

EXPRESSIONS UNLIMITED – BOBBIE SHAW CHANCE/RICHARD CHANCE http://www.bobbiechance.com  
FABIANA MEDICI www.theactorstemple.com
FIRST TAKE ACTING PROGRAM www.firsttake.org
GENE BUA - ACTING FOR LIFE www.genebua.com
GLORIA GIFFORD CONSERVATORY www.gloriagiffordconservatory.com
GOBETTI-ORMENY ACTING STUDIO www.thevictorytheatercenter.org 
H2F COMEDY WORKSHOPS www.comedycasting.com
HARRY MASTROGEORGE PROFESSIONAL WORKSHOP www.ameliaproductions.com
HOLLYWOOD ACTORS STUDIO www.actingconnection.com
HOWARD FINE ACTING STUDIO www.howardfine.com
HOUSE OF ACTORS www.houseofactors.com 
INSTONE ACTORS STUDIO - NORA STONE www.instoneactorsstudio.com
IVAN BORODIN www.ivanborodin.com
IVANA CHUBBUCK STUDIO www.chubbucktechnique.com
JAMES HONG www.jameshong.com
JAMES LEVINE TYPECASTING INC. www.typecastinginc.com
JANET ALHANTI STUDIO www.janetalhantistudios.com
JANICE KENT www.janicekent.com
JEANIE HACKETT: SCENE STUDY & AUDITION TECHNIQUE www.jeaniehackett.com
JEFF HARDWICK CASTING www.jeffhardwickcasting.com
JEFFERY PASSERO www.jeffpassero.com
JEFFREY MARCUS www.jeffreymarcus.com
JEREMIAH COMEY STUDIOS www.jeremiahcomey.com
JILL PLACE BRANDACT BRANDING FOR ACTORS -  www.actingintuitive.com
JOANNE BARON/D.W. BROWN STUDIO www.baronbrown.com
JOEL ASHER STUDIO www.joel-asher-studio.com
JOHN SUDOL ACTING STUDIOS www.johnsudolstudio.com
JROSE STUDIO www.jrosestudio.com
JUNE CHANDLER'S ACTORS WORKSHOP www.junechandler.com 
KATE McGREGOR-STEWART www.katemcgregorstewart.com
KATT SHEA www.kattshea.com
KEN LERNER STUDIO www.kenlerner.com
KENT KLINEMAN ACTING STUDIO www.kentklineman.com
KIMBERLY JENTZEN - LIVING THE ART INSTITUTE www.kimberlyjentzen.com
LARRY BIEDERMAN - DIRECTING AND ACTING CLASSES www.larrybiederman.net
LARRY MOSS STUDIO www.edgemarcenter.org
LAURA GARDNER www.lauragardner.org
LaVALLE ACTORS WORKSHOP www.lavalleactorsworkshop.com
LEE STRASBERG SCHOOL  http://www.strasberg.com/lstfi/
LENA HARRIS STUDIO www.lenaharris.com, www.youtube.com/lenaharrisstudio 
LESLIE FLEMING-MITCHELL www.lesliefleming-mitchell.com
LESSAC SUMMER VOICE & BODY TRAINING WORKSHOPS www.lessacinstitute.com
LIGHTS, CAMERA, ACTING! www.lightscameraacting.com
LINDA BERRY'S BERRYWOOD www.berrywood.net
LINDSAY CROUSE www.lindsaycrouse.org
LISA DALTON STUDIOS INC. www.lisadaltonstudios.com, www.chekhov.net
LOS ANGELES ACTORS CENTER www.laactorscenter.com
LYNETTE McNEILL STUDIO www.lynettemcneill.com
MAKING IT ON BROADWAY www.makingitonbroadway.net
MARJO-RIIKKA MAKELA - www.chekhovstudio.com
MARK TILLMAN, CSA www.tillmancasting.com
MEGAN FOLEY CASTING www.meganfoleycasting.com
MEL RYANE www.melryane.com
MELISSA SKOFF, C.S.A. www.melissaskoff.com
MICHAEL KNOWLES www.7aproductions.com
MILLIE SLAVIN STUDIOS www.millieslavinstudios.com
NATALIJA NOGULICH www.natalijanogulich.com
NED MANDERINO www.manderino.com
NEW YORK FILM ACADEMY www.nyfa.com
NICOLAS COSTER STUDIO www.nicolascoster.com
ORANGE COUNTY SONG & DANCE CO. www.orangecountysonganddance.com
PIERO DUSA www.pierodusa.tv
PLAYHOUSE WEST SCHOOL AND REPERTORY THEATER www.playhousewest.net
RICHARD LAWSON STUDIOS@BEVERLY HILLS PLAYHOUSE www.richardlawsonstudios.com
RICHARD SEYD ACTING STUDIO www.seydways.com
ROB REECE ACTORS WORKSHOP www.methodacting.com
ROBERT F. LYONS www.insideacting.com
RON BURRUS ACTING STUDIO www.ronburrus.com
SACRED ACTOR: THE UN-LA CLASS www.sacredactor.com
SAM CHRISTENSEN STUDIOS www.samchristensen.com
SANDRA K. HORNER PERFORMANCE STUDIO www.sandrakhorner.com
SANFORD MEISNER STUDIO http://www.thesanfordmeisnerstudio.com/ 
SANTA MONICA PLAYHOUSE ACTORS' WORKSHOP www.santamonicaplayhouse.com
SCOTT COLOMBY WORKSHOP www.scottcolomby.com
SCOTT SEDITA ACTING STUDIOS www.scottseditaacting.com
SCREEN ACTORS STUDIO www.screenactorsstudio.com
SHARON CHATTEN www.sharonchatten.com
SHAWN NELSON ACTING STUDIO www.shawnnelson.info/coaching.html
SOUTH COAST REPERTORY www.scr.org
SOUTHERN CALIFORNIA CHILDREN'S THEATER www.childrenstheater.tv
STAN ROTH www.stanroth.com
STELLA ADLER SCHOOL  http://www.stellaadler-la.com/
STEPHEN BOOK ACTING WORKSHOP www.stephenbook.com
STEPPENWOLF WEST www.steppclasseswest.com
STEVE EASTIN STUDIO www.eastinstudio.com
STEVE TRUITT COACHING www.stevetruitt.com
Stuart K. Robinson, http://www.stuartkrobinson.com/
STUART ROGERS' ACTING STUDIO www.stuartrogersstudios.com
STUDIO C ARTISTS www.studiocartists.com
SUSAN GIOSA'S ACTING WORKSHOP www.susangiosa.com
TAKE AFTER TAKE www.takeaftertake.com
TED BRUNETTI STUDIO www.tedbrunetti.com
TERRY BERLAND - BERLAND CASTING www.berlandcasting.com
THEATER GROUP STUDIO www.theatergroupstudio.com
TIGERTAINMENT STUDIOS www.tigertainment.com
TIM PHILLIPS STUDIO-L.A. www.timphillipsstudio.com
TOM TODOROFF STUDIO www.tomtodoroff.com
TOTAL WORKSHOP FOR ACTING www.thetotalworkshopforacting.com
TVI ACTORS STUDIO www.tvistudios.com
UCLA EXTENSION DEPARTMENT OF ENTERTAINMENT STUDIES AND PERFORMING ARTS www.uclaextension.edu/entertainmentstudies
VALLETTA WORKSHOP www.vallettaworkshop.com
VINCENT CHASE WORKSHOP www.vincentchaseworkshop.com
WCI STUDIOS-BILLY COWART www.wcistudios.com
WEIST-BARRON-HILL ACTING FOR TELEVISION & FILM www.weistbarronhillacting.com
WENDY HAINES IGNITE YOUR CAREER WORKSHOPS www.wendyhaines.com
WILLIAM ALDERSON STUDIO www.aldersonstudio.com
WORKSHOP WITH ELIZABETH PAYNE www.theworkshopla.com
 

2. COMEDY AND IMPROV SCHOOLS AND COACHES

ACME COMEDY THEATER www.acmecomedy.com
ACTORS IMPROV STUDIO www.actorsimprovstudio.com
BANG COMEDY THEATER www.bangstudio.com
BARB & STEVE NORTH'S COMEDY WORKSHOP www.funnycoach.com
ANNE BEATTS
http://www.myspace.com/annebeatts original sketch writer for SNL
beattsclass@aol.com

 BOBBIE OLIVER - STANDUP ACADEMY www.standupacademy.net
COMEDYSPORTZ LOS ANGELES www.comedysportzla.com
THE EMPTY STAGE IMPROVISATIONAL COMEDY THEATER www.emptystage.com
THE GAY MAFIA IMPROV COMEDY WORKSHOP www.thegaymafia.net
THE GROUNDLINGS SCHOOL www.groundlings.com
HARVEY LEMBECK COMEDY WORKSHOP www.harveylembeckcomedyworkshop.com
IMPRO THEATER www.improtheater.com
IMPROV COMEDY WAY WITH ANDY GOLDBERG www.offthewallcomedy.net
IO WEST www.iowest.com
JACQUIE LOWELL'S IMPROVISATION CLASSES www.jacquielowell.com
 
 JUDY CARTER'S STAND-UP COMEDY WORKSHOPS www.comedyworkshops.com
L.A. CONNECTION COMEDY PRODUCTIONS www.laconnectioncomedy.com
MERILYN CARNEY: BUILD YOUR CRAFT AND CAREER - www.merilyncarney.com
MUSICAL IMPROV WITH MICHAEL POLLOCK www.michaelpollock.com
 PAUL RYAN'S CBS ACTING ACADEMY & TV HOSTING STUDIO www.paulryanproductions.com
 SANDI C. SHORE'S STAND UP COMEDY WORKSHOP www.sandishore.com
 THE SECOND CITY TRAINING CENTER www.secondcity.com/tcla
STEVE KAPLAN'S COMEDY INTENSIVE www.kaplancomedy.com
UNITED CITIZENS BRIGADE
http://losangeles.ucbtheatre.com/classes/


3. COMMERCIAL ACTING SCHOOLS AND COACHES
The following institutions and individuals specialize in training for commercial work. Remember that some of the larger Acting Schools/ Classes and Acting Coaches also offer commercial training; check those listings for a complete look at training in this area.

CAROLYNE BARRY'S COMMERCIAL, IMPROV, AND ACTING WORKSHOPS www.carolynebarry.com
JEFF GERRARD CASTING INTENSIVE COMMERCIAL WORKSHOP www.jeffgerrard.com
HEY I SAW YOUR COMERCIAL http://www.heyisawyourcommercial.com/
MICHAEL DONOVAN CASTING COMMERCIAL CLASS www.michaeldonovancasting.com
ORANGE COUNTY COMMERCIAL ACTING WORKSHOP www.occaw.com
SANDRA MERRILL COMMERCIAL CLASS www.sandramerrill.com
STUART STONE CASTING www.commercialacting.info


4. UNIVERSITIES AND CONSERVATORIES
These schools have  two-year acting programs and some offer more brief training in various theatre arts.

ACADEMY OF ART UNIVERSITY www.academyart.edu/ep/acting-school/index.html
AMERICAN ACADEMY OF DRAMATIC ARTS – LA www.aada.org
AMERICAN CONSERVATORY THEATER www.actactortraining.org
CALARTS SCHOOL OF THEATER www.calarts.edu/ and http://theatercalarts.com/home
EAST WEST PLAYERS ACTORS CONSERVATORY  www.eastwestplayers.org
ORANGE COUNTY HIGH SCHOOL OF THE ARTS www.ocsarts.net
PACIFIC CONSERVATORY OF THE PERFORMING ARTS www.pcpa.org
PROMENADE PLAYHOUSE AND CONSERVATORY www.promenadeplayhouse.com
THE RUSKIN SCHOOL OF ACTING www.ruskinschool.com
THE SANFORD MEISNER CENTER www.themeisnercenter.com
STELLA ADLER STUDIO OF ACTING - LOS ANGELES www.stellaadler-la.com

5. MUSICAL THEATER
BILL HALLER-VOICE TEACHER http://anuptempoandaballad.blogspot.com
CAROLE D'ANDREA www.caroledandrea.com
BOB GARRETT www.bobgarrett.net


6. PHYSICAL THEATER/MOVEMENT
 These are groups that train actors through the physical and physiological aspects of performing.

DANCE FOR THE ACTOR - THERESA HAYES www.dancefortheactor.com
MIME THEATER STUDIO www.mimetheaterstudio.com
BREATH www.natsukoohama.com


7. ACCENT REDUCTION:
ACCENT ON ACTING - ADAM LeGRANT www.accentonacting.com
ACCURATE ENGLISH www.accurateenglish.com
ROWENA BALOS www.rowenabalos.com
BEVERLY BREMERS' VOICERCISE www.voicercise.net
CORFF VOICE STUDIOBob Corff www.corffvoice.com
ELOCUTION SOLUTION www.elocutionsolution.com
KELLY REITER: REEL ENGLISH www.reelenglishcoach.com
MENTOR LANGUAGE INSTITUTE - MICHAEL BUCKLIN www.mentoresl.com


8. VOICE OVER:
ALISO CREEK PRODUCTIONS - WILLIAM WILLIAMS www.alisocreek.net
ROWENA BALOS www.rowenabalos.com
BEVERLY BREMERS' VOICERCISE www.voicercise.net
CORFF VOICE STUDIO Bob Corff www.corffvoice.com
DOLORES DIEHL VOICEOVER CONNECTION INC. www.voconnection.com
LEIGH GILBERT
http://www.leeleevo.com/
HOWARD AUSTIN'S VOCAL POWER SCHOOL www.vocalpower.com
JEFFREY ALLEN VOCAL STUDIO www.vocalsuccess.com
KALMENSON & KALMENSON VOICE CASTING www.kalmenson.com
M.J. LALLO www.creatingvoices.com
LISA POPEIL'S VOICEWORKS www.popeil.com
MARC CASHMAN-CASHMAN COMMERCIALS: THE CASHMAN CACHE OF VOICE ACTING TECHNIQUES www.cashmancommercials.com
RICK ZIEFF'S UNBELIEVABLY FUN VOICEOVER CLASS
  http://www.rickzieff.com/
ROY SAMUELSON THE VOICE OVER WORK OUT LOUNGE (VOWOL) www.vowol.com
SANDY HOLT/VOICECASTER
http://www.voicecaster.com/
SUSAN BLU and CYNTHIA SONGÉ www.blupka.com
TONY GONZALEZ  http://www.kidsvo.com/
WALLY BURR VOICEOVER www.wallyburr.com
WARREN B. MEYERS www.wbmvo.com

9. STAGE COMBAT and  STUNT
ACADEMY OF THEATRICAL COMBAT  www.theatricalcombat.com
COMBAT AT BEVERLY HILLS FENCERS' CLUB www.swordcombat.com
DAVE LEA'S MOTION PICTURE STUNT/FIGHT-TRAINING www.davelea.com
 FILM FIGHTING L.A. www.filmfightingla.com 
 SAMURAI ACTION STUDIO www.samuraiaction.com
 SWORDPLAY FENCING STUDIOS www.swordplayla.com
 


10. YOUNG PERFORMERS—TEACHERS AND COACHES:
Many schools offer classes for young performers but these classes are exclusively for the young performer.

ACTING FOR CHILDREN & TEENS AT EDGEMAR www.edgemarcenter.org
ACTORS' ATELIER www.actors-atelier.com
ACTORS ROOM Steven Lowe (Orange County):  www.theactorsroom.com
ACTING FOR CHILDREN & TEENS AT EDGEMAR www.edgemarcenter.org
BARB NORTH THE KIDZ KOACH www.funnycoach.com
BB'S KIDS ACTING WORKSHOP WITH BELINDA BALASKI www.bbskids.com
 CHRIS JORIE www.chrisjorie.com
HARRIET GREENSPAN-YOUNG ACTORS ARENA http://www.youngactorsarena.com/index.php?option=com_comprofiler&task=userProfile&user=232
JOY THEATER - JOSH and JANIECE JARY MINNICK www.joytheater.com
KIDS ON CAMERA www.stopdreamin.com
LAGUNA PLAYHOUSE - YOUTH THEATER www.lagunaplayhouse.com
Lights Camera Acting (Orange County): www.lightscameraacting.com
LIZA MONJAUZE PRODUCTIONS www.lizamonjauzeproductions.com
MARNIE COOPER SCHOOL OF ACTING INC. www.marniecooper.com
QUIT ACTING!! www.quitacting.com
THE SANTA MONICA PLAYHOUSE EDUCATION CONSERVATORY www.santamonicaplayhouse.com
STACY REED www.theblank.com 
THE RUSKIN SCHOOL OF ACTING www.ruskinschool.com
TOTAL IMPROV FOR KIDS www.totalimprov.com
TRACY MARTIN/KOACHING KIDS & TEENS www.tracymartin.com/koachng.htm
WEIST-BARRON-HILL ACTING www.weistbarronhillacting.com
THE YOUNG ACTOR'S STUDIO www.youngactorsstudio.com
YOUNG ACTORS SPACE www.youngactorsspace.com


11. FINANCIAL, SOCIAL EMOTIONAL: 
The Actors' Fund Helps UNION and NON UNION ACTORS and other entertainment professionals.

Sincerely,

Ross Grossman
Affinity Artists Agency
Licensed, SAG/AFTRA/WGA/DGA/AEA/AFM 
IMDB: http://www.imdb.com/company/co0085304/ 

Wednesday, February 2, 2011

Which Affinity Artists Agency actress just scored a series regular role? Guess: http://tinyurl.com/mdkl5s or http://tinyurl.com/2bwvns4

Sunday, January 23, 2011

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 2nd 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
 

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