9 Anti-Audition-Anxiety Mantras

Dustin Hoffman wasn't born auditioning

Neither were you. It's cliche but it's true. You really do have to start somewhere. Every actor working today had a first audition. And every actor working today has auditioned and not been cast. They've also blown it. They've been nervous and unsure. They've been great and they've been awful. You might be the next Hoffman! But no one will ever know if you don't start auditioning! Don't you think you owe it to yourself to find out? You owe it to the entire world!

The word "audition" is meaningless

Thousands of them take place each year. So stop giving the word audition undo importance. Break down what an audition actually is. In its simplest form: You go to a place. You do some acting and maybe you'll get to do a little more. It's easy. There is no need to make it larger than life.

It only lasts a few minutes

You're living your dream, baby! Treasure it! Remember when you were at home in the suburbs wishing your parents had moved to LA when you were a baby so that you could go to auditions? Well now is your chance. The thing is, it will be over so fast that you'll wonder if you've been abducted. So calm down and relish the moment. You've been dreaming of it.

Don't think about the job

There is something unique about you and an audition is just a chance to share it. Think of getting the job as just a by-product. One of most useful parts of an audition is just letting the casting director experience you , even if (in your mind) you blow it. Over time the casting directors will forget the specifics of your audition, but they'll feel familiarity with you in the future. It's a big plus.

The casting people don't know it's your first time out

Contrary to what you might believe, you are the only one that knows you've never auditioned before. You don't need to volunteer the info either. Just do your thing. The entertainment world is full of actors of all ages who landed parts with little or no experience. Stop thinking that everyone knows your secret.

There are no secret audition rituals

Don't feel like the rest of the acting world is privy to knowledge you don't have. You're on the same page as they are. You've seen enough movies to know what a basic audition looks like. And you deserve to be there just as much as they do. If the casting director wants to you do something, they'll probably ask you. The rest of the actors are just as (insert negative emotion here) as you are. Trust us.

The powers that be want you to be the one

The Casting Director's job is to cast the part. They desperately want you to be the one they cast. They are ON YOUR SIDE. From the moment you walk in they are praying you've come to blow them away. They've been waiting all day for YOU. Nothing would make them happier than to call it a day and give you the role. You're set up to succeed the moment you walk in. They already love you.

Auditions are opportunities to grow

Put "the part" aside. You're basically taking a master class during an audition. Some people pay $50 bucks an hour to for the chance to strut their stuff. So even if you don't get the job, you are growing as an artist. You've tried something new. You will have a a level of skill you didn't have before. It's a win-win situation.

There is no failure

Acting is an art. If you don't get the job it is not a failure. You aren't in control of who is chosen. You are only in control of yourself. But if you aren't cast don't assume you aren't good enough. Reasons for not getting cast number in the hundreds. Just showing up to any audition is a small triumph on its own.

The world will not end if you aren't cast

Worse case scenario: You didn't get the part. They laughed you out of the room and everyone concluded that you're a horrible actor. They blacklisted you so you'll never work again. Then the world imploded. Here's a newsflash: That's insane. Only on American Idol do they laugh (and that's for ratings). The other actors only care about themselves and there will be other roles. And do you really think they'll use energy to call all the other casting directors to tell them not to hire you?

For the real insider secrets to getting through the audition and coming out on top check out http://www.ultimateauditiontips.com

Who Knows Where Your Singing Skills will come in handy!

Who says that you have to choose broadway, TV or film. Every good actor is an allrounder. Learn EVERYTHING!

Secrets to Acting and Auditioning for TV and Film

Make The Camera Love You!

She’s ready to pour her heart out. She understands her character, she has the emotions boiling inside her. If you were watching her on stage, you’d be moved already. But you’re not, you’re in a chair behind a monitor attached to a camera, and when you say “Cut” it’s with weariness in your voice.

Acting for film and television is not, as reputed by some, a different beast entirely, but someone trained for the stage may not be equipped with all the tools and preparation required to bring their craft to the screen. Even some of the best acting schools fail to prepare their students effectively for the transition, perhaps considering the motion picture a lesser art form. But acting for camera is here to stay, and here’s how to make a good impression on a director when trying to grab your piece of Hollywood magic.

1. Less is more.
The camera is six feet in front of you, not sixteen rows, and it can capture every last expression on your face. You don’t need to make large ‘theatrical’ gestures or use your whole body. The smallest look on your face can say so much, and often more effectively.

2. No need to project to the cheap seats.
A boom microphone will be hanging over your head, picking up your every word. You can deliver your lines right to the camera or the other actor and not worry about having to speak up for the benefit of the proverbial old lady in the back row. Use this opportunity to exercise what you can do with your voice for a softer moment. Be intimate, be subtle, more so than you could effectively do on the stage.

3. Consistency and continuity.
Understand that what you do in a scene has to cut together with the other shots of that scene. If you scratch your head on your first line in angle 1, but on your second line in angle 2, the editor may not be able to put the scene together too well without making it seem like you have head lice. Being consistent with your physical actions, your eyeline, your props will make your performance flow far more smoothly in the editing room.

4. Save it for the take.
Don’t use up the best of your emotions on one take, or, worse, in the rehearsals before the camera rolls. Understand how many angles and takes are going to be required to make the scene happen. Budget your emotions accordingly, and put your best work into your close-ups, not when you’re in the background or off-camera. Inevitably, takes are going to be wrong for technical reasons as well as performative - if you put your all into the first take, and the camera jams, what will you do for take 2? Work with your director and find new ways of approaching the material each time, so that it does not get stale.

5. Track your character over the course of the story.
Movie scheduling is based around logistics, not the flow of the story, and so you may shoot scene 14 on the first day, 36 on the second and 3 on the third. But you can’t shoot scene 14 without understanding the general arc of the story, where your character is in those early scenes and where she’s going in the later ones. Understand how the scenes relate to each other so you can make the journey work in sections.

6. Bear with people.
Lighting takes forever. Setups take forever. Everything, in fact, takes forever, or close to it. An actor who is able to bear with the long process of a shooting day, who understands that spending an hour to do a minute’s worth of acting is not an insult to the craft, is an actor who directors enjoy working with.

7. Understand what is being shot at the moment.
What you need to do in your shot changes completely if the camera is a close-up on your face or a wide shot focusing on your left side; it is also important to know if the director plans to cut away to something, shoot it a different way later, et cetera. If you need to know if something you’d like to do will be relevant for the shot at hand, just ask; the director or the script supervisor will be happy to explain the breakdown of the scene to you.

Acting for the camera is an unusual process, but it is very rewarding to see your work on the silver screen. As Spencer Tracy said, “Learn the lines and don’t bump into the furniture.”

See you at the movies!

How To Audition Better - SINGING AUDITION

Things NOT TO DO - before a singing audition

Just as an athlete knows there are things they should avoid the week before a big competition, there are things a singer should avoid before a big audition if they want their vocal cords to be in tip-top shape.

Before an audition, avoid smoke.Smoke will dry out your throat and irritate your vocal cords. So, you definitely shouldn't smoke before an audition. You should also avoid places where you're likely to be exposed to second-hand smoke, like bars and parties.

Breathing in dust, fumes, or chemicals (like strong household cleaners) can also irritate your throat. So avoid them as much as possible before an audition.

Watch what you drink before your audition. Alcohol and caffeine can also dry out and irritate your throat. So drinking a cup of coffee, or having even a small drink, right before an audition is a bad idea.

Watch what you eat before an audition. Acid reflux (which causes irritating stomach acids to be pushed backwards into your throat) can really irritate your throat. If you know there are certain foods that cause you to experience indigestion or acid reflux, start avoiding them a few days before your audition.

Before your audition, try not to clear your throat.Clearing your throat causes abnormal vibrations in your vocal cords which could caused them to become swollen and irritated, which is not what you want when you're about to audition. And, once you start clearing your throat, it's hard to start. So, no matter how much you feel like clearing your throat, resist the temptation.

Before your audition, avoid mint, or mentholated products.Sucking on hard candy or a lozenge, or chewing some gum before an audition isn't a bad idea. It will increase the production of saliva, which will moisten your throat. But candy or gum that contains mint (like peppermint or spearmint), and mentholated products (like some cough drops) will actually dry out and irritate your throat. Before your audition, stick with fruit-flavored hard candies.

Before your audition, avoid yelling, talking excessively, or singing too loudly.

Before your audition, you want to rest your voice as much as possible. So, no cheering at the concert, singing silly songs at the top of your lungs, or staying up late at night talking on the phone to old friends.

Don't whisper.In order to save their voices for an audition, some singers start whispering a few days before. But whispering can actually put as much strain on your vocal cords as shouting would. So, instead of whispering, talk in your normal voice. You want your voice to be ready when it's time to audition.

These tips will help keep your vocal cords in tip-top shape. When you need to know how to audition remember to think about how not to audition!

Seven Tips to Becoming a Successful Working Actor

Tools to Getting Your Foot in the Entertainment Door

Welcome to the monster known as the entertainment industry. Every year thousands of people flock to big cities such as London, Los Angeles, New York, and Orlando. What does this mean? It means hundreds of people are fighting for representation, roles, and rehearsals. How does a person break through in such mass confusion?

Key 1: Know Thyself
Everyone starts with a manipulated resume which is full of words like student directed, community playhouse, and “most talented sixth grader.” Embrace your “aspiring” status. When calling or emailing for an audition, turn your inexperience into a positive. “You are looking for someone to give you that shot or that one opportunity to show your stuff.” In most cases, a director or casting agent will sympathies with your struggles and give you a chance.

Key 2: Take the Re -Train
Nothing opens doors faster than the words “Juilliard” on your resume but what happens if you haven’t attended a renowned school of theatre. There are acting workshops in all major cities but these can be expensive. If you have the money, there are many excellent programs but remember that the key is not just training but also networking. Classes and programs aren’t just to hone your skills but to help give you some exposure. You have already gone to school; this is to help you find work.

Key 3: Working the Smallest Stages
What if you don’t have that type of money to spend on classes? Perhaps you’ve just moved to New York City and have a 8th floor studio apartment that barely fits a bed and a television stand which you pay 1100 dollars a month rent. An excellent place to hone your stage skills as well as meet others in the industry is at playwriting and screenwriting workshops. Writers and directors are always looking for people to read in their workshops and this is a great way to get in front of an audience as well as meet possible future directors and producers. These can also help fill out a thin resume.

Key 4: The Best Pieces of Spaghetti Don’t Always Stick to the Wall.
Everyone always says audition for anything because you never know what will happen. This is ridiculous. How does the surrealist two minute student film involving slight nudity and no lines further your career? Audition, audition, audition but always know what you’re after. Is this something you want people to see on your resume? If it is: great. If it isn’t: what are you doing there? Spending three months rehearsing as the second policeman from the left in “Wait Until Dark” for 8 hours a day for no pay may feel like work but after three months, all you have is an “ensemble” on your restaurant and an empty kitchen cupboard.

Key 5: There are a Lot of Bad Films Out There
Anyone with a handheld camera and a few dollar bills in their pocket can make a movie. It doesn’t mean all low-budget movies are bad but not all high-budget movies are good. (Has anyone seen Basic Instinct 2?) Remember, you are there to gain experience and exposure. It doesn’t have to be award winning to be good for you. You want to be fun, easy to work with, and good at taking direction. (especially if you’re being paid.) Your job is to take a script and become a character. Odds are the script was probably written by the director or the producer and is based on some type of melodramatic moment in their life. Asking for script rewrites will not make you any friends. Take what you can from the project, put your reference on the resume, and move on.

Key 6: You Never get a Second chance to Make a First Impression
This is never truer than on independent, small budget projects. With your smaller budgeted projects, most directors are looking for a personality that they can create into a character. It’s not just your acting skills which are on show but also you yourself. Entering a room with some excitement will never hurt you. Turn your nervousness into energy. You are a new face, with a bright smile and big energy. You will soon find yourself shining in a room full of potential stars and people will notice.

Key 7: Go Big or Go Home
“Big Breaks” are few and far between but a working actor does not need to be paid $10 million a movie. With these 6 steps, you will be able to get your foot into the door of the entertainment industry. As you get work and your resume fills, representation will follow, and from there… all the world will become your stage.

Auditioning for Musical Theater

You should be completely informed before attending an audition. If you have any questions about audition procedures, contact the auditors, or producer or whoever is listed as a contact.

Research the show(s) for which you plan to audition. Choose the roles that are appropriate for your type and your singing abilities. Not everyone is suited to be the lead. Many actors earn excellent livings filling supporting roles.

If the show already exists and has been recorded for the mass market on video, CD, film, get a recording and listen to the songs. Note which characters best fit your type and singing ability.

When you have a good idea of which character or characters you might be suited to cast, seek out songs from similar musicals that have characters with similar traits as those you think suit you in the show being cast. The songs from those similar musicals will be the material you prepare for your audition.

At the initial audition, it is generally not a good idea to sing a song from the show being cast. If you do sing a song from the show being cast, you run the risk that the character you choose to audition for might not fit the vision the auditor has for that character, and you could be eliminated for that role. The auditor might not envision you in a different role either, so you will be out of the running for other roles as well.

Choose selections from the songs that showcase your range and vocal abilities.

Choose songs that can be "acted," not just "sung." In musical theatre, the songs are part of the story. The songs might be used to reveal plot, develop character, reveal subtext, create conflict, or any number of theatrical intentions. The songs are like dialog set to music.

Get sheet music in your key. This is provided to the accompanist. The exception to this is if the auditors require that performers sing a song from the show. For instance, they might only be auditioning for one role in the show. Perhaps they are seeking a replacement for a lead or a supporting role. In that case, the auditors are looking for just the right person to sing the songs that one, specific character will sing. So they are apt to require performers to sing only a song for that specific character.

If you receive a callback, you will likely be asked to perform a song from the actual show being cast. If possible, it is also a good idea to become familiar with the music for the show being cast. You should do the same "acting" work on the show song as well.

When you enter for your audition, greet the accompanist. Give your music to the accompanist, in the correct order, beginning with the selection you will sing first.

Introduce yourself to the auditors. State your name and the title of the selection or selections you will perform. Do not give any background info about yourself or your selections. The auditors will likely already be familiar with the songs and the shows they come from. They will already have your résumé (of course you brought several copies and several photos to the audition,) so they do not need background info about you. The accompanist will likely give you a starting pitch before each selection. Focus on the pitch then begin singing. The accompanist will follow your lead.

Avoid most hand gestures unless absolutely necessary. Use your eyes, face and voice to express your characters intentions and subtext.

Professional auditors will be able to size up your abilities within the first few measures.

Give a strong start and a straightforward, honest performance.

When done with your audition, thank the accompanist and exit. If called back, be prepared to sing a song from the show being cast.

Callback is usually a day or so after the initial audition date. To make it easier for the auditors to remember you, wear the same clothes, hairstyle, and make-up you wore at the initial audition.

Always be prompt, patient and pleasant

The Ten Most Basic Audition Tips

The 10 Most Basic Audition Tips
Which 80% of auditionees often forget

Auditioning can be stressful, but it’s the best way to find work in theater, film and commercials. Here are the Top 10 most basic rules to remember when heading out for an audition. Most people know them - but do you actively employ all ten - EVERY time!!

1. Arrive at least 15 minutes early. You don’t want to have to rush into your audition. Give yourself time to find the space and warm up.
2. Pack your bag with a book in case there is waiting and a bottle of water. Not every place has a water fountain.
3. Be nice to everybody. You never know if the person you are speaking to is important.
4. There may be several people waiting with you to audition. Remember that they are competing with you for the same job. Don’t let them intimidate you.
5. Wear neat, comfortable clothing. I know you want to look nice, but make sure you can move around the room. And don’t wear a costume. Your outfit can suggest the character such as a high-collar blouse for a period piece, but don’t get all dressed up.
6. Careful when using perfume or cologne. You don’t want to send anyone out of the room in a sneezing fit.
7. Try to find some background information about who you are auditioning for. If you are auditioning for a particular company, be familiar with their work. It can also help you decide which pieces to choose for your audition.
8. Bring clean and clearly marked sheet music. If you are auditioning for a musical, be sure the music you give the piano player is cut down to 16 bars and is free of stray marks and coffee stains.
9. If it is a professional audition bring at least five headshots. You never know how many you will need.
10. Never staple your resume to your headshot. (See this page for more details)

You can probably all say you can manage these basics but many actors forget at least one. You wouldn’t believe how many actors forget rule 2 and then let their nerves overtake them while waiting which damages their performance in the audition - Oh, and THE SCRIPT is not counted as a book!!

Once you’ve mastered these and can honestly say you do all 10, how do you cope with the real stress and process of an audition? There are secrets that can help you beat the casting director, leave the competition gathering dust and get CAST time and time again.

These are what I have successfully taught to my students for years and am now about to release in The Ultimate Audition Guide - coming soon.

My Parents Don't Want Me To Act...

I had a very interesting email this week and I think it’s worth sharing:

On 21/01/07, Farrah wrote:
“Hi! Ok I have a problem..see…my parents, well, they don’t want me to be a singer or an actress, but it’s what I want to do! I’m too chicken to talk to them about it though. What should I do? How can I do what I want to do without my parents knowing?”

My Reply

: ) You can’t! Unfortunately for all of us - while we are minors we have to inform our parents what we are up to. Theater involves a lot of time and dedication and it is impossible to take part in theatrical productions unless you have the blessing of your family. The secret is to win them over to the idea.

The first thing to do is to show them that you are working hard in all areas of your life - school etc. Get their permission to get involved in local community or school theater projects as a volunteer on an amateur basis. Prove to them that you have the dedictaion, committment and talent to do well in the field and then slowly they will comearound to the idea.

I was in the same situation - my parents wanted me to study science at University (as that was where the money was for careers) but I wanted to go to drama school. By relentlessly pursuing my studies through school successfully and at the same time spending all my free time working with theatre companies I built up my experience and knowledge.When it came time to finally apply for colleges I had a real heart-to-heart with my family and made them understand how important theater was in my life. We agreed to compromise. I went to university and studied Music and Drama with Education so, for their peace of mind, I would have a “Real Job” to fall back on if theater didn’t work out.

It was a great decision. Theater is a really difficult job to earn a living as and it is SO important to have other avenues to pursue for paying the bills. Over the last 20 years I have spent a lot of time working in the entertainment industry but have also had to rely on my other skills and my teaching degree has been a blessing.

Remember - parents only want what is best for you. They don’t want to think about you starving and homeless. Prove to them you understand the risks and the challenges and that you have thought through your plans to be an actress. But at the same time make a back up plan for how you will feed yourself when no acting work is coming in. 98% of actors make less than $1000 a YEAR!!

I wish you the best of luck.

Tim
http://www.ultimateauditiontips.com

Create a Character Instantly at a Casting Audition

A Guide to Creating an Interesting Character Instantly

When you are at an audition, there is one obstacle that will always present itself. (In fact the same obstacle exists not only while you are at an audition, but while you are acting in any situation.) This particular obstacle is ‘Getting into Character’ and is most often found in the audition room when you are asked to perform a cold reading from the script. In just a few precious moments you must focus all your attention to the script and consider several critical questions in order to establish a character instantly.

For the beginning actor, and even the more advanced actor, establishing an intriguing character instantly is a challenge. However, it does not have to be this way. It only takes a few moments, and a basic understanding of human emotions. And after grasping this notion, you can establish a character instantly that has depth and meaning.

Working as a Casting Director for many years, it is very common for me to sit in my casting chair, and watch countless actors and actresses walk in and out of my room with literally the same performance. It used to baffle me when watching, them because each of these actors gave a very flat and, dare I say, boring performance. NOT what a casting director wants to see in an audition! So how can you get noticed – how can you ensure that you don’t just read the lines but ‘mean the lines’?

Stop for a moment and visualize a gorgeous mountain range, one full of deep valleys, and extreme highs. There are literally millions of nooks and crannies that one could easily get lost in, and trying to explore the entire terrain would be close to impossible - and yet, one still wants to do so. Now visualize a plane - one from the Midwest, to where you can see for miles and miles. There are no hills, there are no mountains; the only thing that is prevalent within eyesight is flatness. There is absolutely nothing that catches the eye. Nothing is interesting, and all too soon one begins to lose interest and walk away.

Compare these two terrains with your audition performance. Both terrains have the same foundation – the words – but the first terrain, or actor, displays depth. They have knowledge that the human psyche is one full of crevices and caves with extreme highs and glorious lows. Their performance is that of perception: s/he uses the words on the page as just the foundation for their performance adding shape and colour through pace, style, emotion, breathing and body movement.

Now think of the second terrain. Boring, flat, monotonous. Everything is the same; it is as if the repeat button was turned on while God was creating it. It is very common, and very sad, that millions of actors every day read in this style. Like the second terrain they deliver only the words – maybe because of nerves, or because they are unprepared, or just lack the courage to ‘be imaginative’ in their reading. In short though, they simply focus on the ‘ground’ and don’t use their own human knowledge of emotion to build an interesting landscape. Obviously it is this last terrain that as a Casting Director is an immediate "No."

Now that we accept the different types of reading how can we make an instant and stable character with only two minutes of preparation?

The first thing one must remember is to use your time wisely! Once the Audition Side is handed to you, the Casting Director will allow you several minutes to read of the script and let you become familiarized with it. And this is when the downfall for most actors begins. DO NOT MEMORIZE THE SCENE!!!

This is where most actors go wrong. They use the precious moments that they are given to memorize the scene which was handed to them: this is a massive mistake. Why? Well if you really think about it, the answer would be obvious. While you are sitting there, memorizing your lines, you are paying little or no attention to why the lines are being stated. You are simply memorizing. And by doing so you are trapping yourself inside of a creative block. When you begin performing you are so worried about what line is next, you begin to completely push aside any emotions that would automatically arise inside of you if you are truly connected with your character and the scene.

The second reason why memorizing an audition side can be harmful, is because the time allotted, is usually - at maximum - two minutes. Unless you have a true photogenic memory, this two minutes will not be enough for you to truly memorize - or even finish "memorizing" the scene. So, this in turn, will let you be slightly familiar with the beginning of the scene, but towards the end you will find yourself completely lost: and a good audition should show you growing into the character and developing as the reading progresses. (Casting Directors expect you to sound a little nervous at the start but they wont accept you getting MORE nervous as the piece progresses!)

So, how do you use your time wisely?

First 60 Seconds: SCAN read the scene completely through, familiarize yourself with what is going on. Gather the main emotion for your character within the scene. Focus on how to ‘develop’ the character through the scene. Is the emotion changing? Can you show versatility? Is there a good line in the text to give you a chance to demonstrate ‘dramatic pause’, ‘laughter’, ‘anger’, etc. (Any emotion that can show you are not ‘flat and boring’)

Next 45 Seconds: Read the last few lines of the piece again carefully. Be sure you can finish your Cold Reading in an interesting and dynamic way. Can you infuse the lines with some intonation, emotion, expression that might not be clearly written in the text but will add ‘depth’ to the performance? Something different from the ‘plane’ actors who will just deliver the lines the same way that the previous auditioned did?

Lastly, take 15 seconds to change your breathing. Breathing is the key to getting into character as it helps reflect the mood of your entire body and that mood will be translated in your voice. Match your breathing to the emotion identified in the text and think about how and where it changes in the text. Taking a big breath, holding your breath, accelerating your breathing and letting out a sigh are all great elements of expression that are so often forgotten in a Cold Reading. The words only tell half the story. Your ‘character’ will tell the rest.

Now forget you are in an audition and plunge into the character. You breathing, your thinking and your words will elicit body movement that will help you create the ‘instant character’ needed to impress the casting director. Don’t think about what you are doing – think about what you are. And DON’T FORGET TO LISTEN TO WHAT IS BEING SAID TO YOU. React to what is BEING SAID – as well as what YOU ARE SAYING.

For more information and step by step lessons to help you truly master the ‘Landscape Technique’ to developing an instant character in an audition, don’t miss out on The Ultimate Audition Guide coming soon from http://www.mediatricks.com/ Subscribe today at http://www.ultimateauditiontips.com/