On Auditioning

As you begin to dig into your sides for class, below are some thoughts to keep in mind:

Ask yourself why did casting pick these particular scenes to use to audition actors for this project?

They have a reason for why they have chosen the particular scene(s). Try to get to the root. My guess is that it’s a test of their story, the key moments for the characters and their personalities. These moments mirror the arc of the full script.

Try to ask yourself:

* What is the STORY of the scene? What is the ARC, of both the full script AND the audition sides?

* What is the style or genre?

* Where does each scene take place in the overall story?

* What is EACH SCENE about in relation to, AND independent of, each other?  How do they contribute to the overall story?

Once you have a firm grasp on what story is being told in your selected sides, you will have a better understanding of how to prepare to deliver that story.


CLEAN SLATE: Tips for Slating in Your Commercial Auditions

Think giving a ‘clean slate’ in your commercial auditions is the easiest thing in the world? Think again. Full article below this sneak peek:

“… your slate should grab the clients [CUZ IT’S ALL ABOUT THE FUCKING CLIENT!!!], ensuring they’ll actually watch your audition. Seriously, do you think they take hours out of their day to watch every single audition? You have to hook them with your slate first.”

 

Clean Slate:Tips for Slating in Your Commercial Auditions – Full Article 

 

 


The 7 C’s of Auditioning

Great read. Full article in the link below this sneak peek:

The 7 C’s of Auditioning

*  CONFIDENCE  *

 If you don’t believe in yourself, nobody else will. The audition starts the moment you walk into the room, so find a way to be relaxed, and project unshakeable confidence. If you don’t have it, fake it. This is all about body language and eye contact, so walk into the room with your head up, shoulders back, with total focus and relaxation. It’s the kind of confidence that makes people trust you, and allows them to feel they can put you on set or on stage tomorrow and you will be fine and not waste their time. You are prepared, know your job in the scene, your lines, and believe in the circumstances. Even if you are freaking out inside, you have to “act” like a confident person. (You are an actor, right?)

*  CHARACTER  *

*  CONFLICT  *

*  CONCENTRATION  *

*  CONNECTION  *

*  CLARITY  *

*  CHARISMA  *

The 7 C’s of Auditioning – Full Article 


Class Notes, by me, scottyB

– Being approachable is swell. People could, like, approach you with a paycheck and stuff.

– A good actor’s brain is like a clubhouse. This clubhouse has a sign on it, written in black marker: “NO ACTOR THOUGHTS ALLOWED! GROSS! YOU HAVE COOTIES!”  We must only allow character thoughts. Strong moment before and opening thought. That is ALL you can allow in your clubhouse at the top of your scene. Some of us need to do more than others to get the focus that is needed to smoothly and safely head into the scene. Whatever YOU gotta do for YOU? DO IT. Cuz other stuff will fuck it up. Something, somehow, some way, regardless of whether you think so or not WILL fuck it up. It’s like termites: you never know those little fuckers are there until the sofa falls through the floor just before the end of ‘Game of Thrones.’ Those microscopic bastards have been there by the billions just gnawing away for a LONG time. And you had no idea. So check your clubhouse for termites. And cooties.

– ELLIPSES: rather than dragging them out for purposes of trying to create an awkward/funny silent pause, try making them faster/shorter but more thought-filled. Smaller, fuller ellipses pop more. Like Lisa Rinna’s lips if they weren’t fucked up.

– Focus on what your character wants rather than what they don’t have. It’s the much shinier side of the same coin. And people dig shiny coins.

– CONNECTION. You gotta be connected to your partner (s). Pay attention. Live your character’s LIFE. Listen, think, respond. The scene won’t work without being connected. Same goes for appliances.

– I think we want our work to be seen. It’s almost as if we don’t trust that our homework will be given credit if it isn’t handed in before the exam. (God I hated school) That’s why the whole ‘throw it all away’ thing can be difficult. How the fuck do you do that? Well. Time helps. Repetition, REHEARSING. That shit helps. It soaks in. It just becomes part of us. I, Scott Allyn Borden, openly admit to this being a prominently featured issue on my newsstand. SHOW THEM EVERYTHING! If they don’t see EVERYTHING it won’t make sense, or they won’t believe it, or they won’t grasp the entire picture I painted! Well. A lot of people enjoy a really great meal, right? What’s better than a great meal? We LOVE great meals! Even if the chef doesn’t sit next to us and read the recipe and preparation instructions, right? When we see a gorgeous building our jaw drops without the architect mapping out his blueprints and the crew bringing out all the bulldozers and scaffolding, right? Prep and time and dirty hands is all part of the PROCESS OF CREATION. And when it’s time, it’s time; when it’s not, it’s not. THROW IT. ALL. AWAY. It’s there! TRUST THAT. I’m calling myself out here- I REALLY REALLY STRUGGLE WITH THIS ONE! So I’m calling my own ass out here. (Please join me. Guests welcome.)

– Stakes have absolutely nothing to do with volume. Raising your stakes means raising your stakes, not your volume. Save your volume for a No Doubt concert. (#BordenObsessionPlug)

–  Note to self: beats are paychecks. You have to earn those beats by working your way through ALL the text that appears BEFORE the beats. EARN THE BEATS!

– There are two types of people in the world: actors and civilians. We must be careful not to allow the laws of civilians to invade our actor territory. Rules in the civilian world are often times disruptive on our turf. For example- my mother is a civilian. One of her thousands of quotes for me has always been, “DAMMIT Scotty, MUST you ALWAYS dive into the pool without checking for WATER FIRST?!” (it’s true guys- mother knows best). In civilian territory, that is a bad thing to do. My myriad of experiences in civilian territory sometimes make it very hard for me to go there in actor territory. Because when I do that sorta thing I end up face-planted on the cement at the bottom, broken and bleeding. (Then I blame the sun. For evaporating H20 too quickly, see?) BUT. That hesitation, that fear, that prediction that if I leave the diving board I’m going to end up broken and bleeding at the bottom of a cement hole? Is so very restrictive and limiting to one’s potential in actor territory. That EXACT rule of good ol’ mama’s is PERFECT- for the LEFT brain. But we’re not worried about that hemisphere in our acting- we’re on the OTHER side. And the BEST POSSIBLE THING we can do in actor territory??? RUN off the fucking diving board, IN our day job clothes, NOT looking where we’re gonna land, LOVING the tickle in our stomach and the wind slapping our faces, and TRUSTING that our CLASS and our TEACHER and our SCENE PARTNER(S) are the water in that pool. We are not civilians when we are together- we are insane, lewd, hilarious, vibrant, rad, fucking awesome actors. It isn’t possible to face plant in our pool. CANNONBALL THAT SHIT.

– scottyB


Class Notes Highlights from Brian’s Ongoing, by Jonathan S.

Class Notes Highlights from Brian’s Ongoing, by Jonathan S.

–          Relationships are different points of views fusing together.

–          Make sure that when we are working with relationships we have different points of view and that we have clear choices.

–          Explore what makes each partner in a relationship different.

–          What differentiates [your character] from the rest of the characters?

–          The circumstances [are already] there and present.  What is already happening that causes the scene to start [and] take place?

–          Breathe life into the character. Don’t walk the audience through every beat.

–          What is feeding your aesthetic [as an artist]?

–          What is your artistic diet?

–          Take care of what you need to take care of before you get to class [so you can be fully present].

–          Warm up and do exercises to prepare yourself to work to your best ability.


Class Notes Highlights from John’s Tuesday Ongoing, by Clayton S.

Class Notes Highlights from John’s Tuesday, by Clayton S.

– WHEN YOU DON’T RECEIVE, YOU PUSH TOO MUCH TO SEND!

– Infidelity doesn’t ruin a relationship… it’s the sign that something was already wrong.

– [You can’t seem] vapid. You’re a series regular, and we’re assuming you’re going to stay married [and that things will work out for your characters].

– Nothing is more uncomfortable than sustaining the connection.

– When you’re trying to be cool with someone you’re trying to keep up with their language. You try to keep up with the rhythm and approve of everything that they say/do.

– It’s okay to “color outside the lines.” We’re allowed to be a little sloppy! It gives us texture.

– When you’re having fun, we’re having fun.

– Keep from playing a caricature.

– FIND THE EASE!

– We need to worry less about the comedy and “the funny” and more about the given circumstances of the material.

– Don’t allow yourself to miss moment to moment stuff by getting swallowed up in high stakes.

– TAKE YOUR TIME!

– Sending is great but it won’t pay off if you don’t receive back.

– You gotta be a badass. You gotta find your specificity.


BADASS QUOTE, from mega casting director Bonnie Gillespie

“We are in the new Wild West and we are pioneers. It’s survival of the awesomest at this point. Actors who refuse to self-produce are quickly becoming invisible. Bitter actors who believe they’ve been here ‘X’ amount of time and therefore deserve ‘Y’ amount of success are dinosaurs… Yes, you could drive or bus or train across the country, but what’s the value in sitting around bitching about the people who choose to fly getting there faster? There is no value in that.” – Bonnie Gillespie


Don’t Apologize!

  • Sometimes we feel the need to hold on to our niceness. Sometimes it’s an addiction and we can’t help but do so, but you gotta let your inner dick/bitch out of its cage and maul some people every now and then. It will do nothing but add texture and dichotomy to your acting and we will be obsessed with you even more than we already are.
  • Stop apologizing. Even if you knocked a child’s aquarium over and laughed demonically about doing so, don’t apologize- let it be a shining example of what a bad-ass you are. BAD-ASSES DON’T APOLOGIZE IN THIS BUSINESS. (Even if they slaughter the cast of “Finding Nemo”.)

CLEAN SLATE: Tips for Slating in Your Commercial Auditions

Here is a nice lil’ article I found with some basics on how to give a ‘clean slate’ in your commercial auditions! Think it’s the easiest thing in the world? Think again…

CLICK HERE!



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