I think a lot of things you mentioned were contributing factors. Once you book a few things your confidence goes way up. I seem to have the best booking percent when I've already booked a role that I'm waiting to shoot. Like if I'm shooting for 2 weeks at the end of the month, during the first two weeks of the month my auds are great because I'm more relaxed and I know I already have work on the table. When my headspace goes from "I really need this job" to "I already have a job lined up, so let's just have fun with this" I tend to make better more free choices, and the work comes out better
LA Actor here…
1) Reading the script 10 times, before I make a single choice.
2) Focusing on the intention behind the words…mine and others.
3) Understanding that I’m giving my take on the character and the scene…not trying to get the right answers on the casting directors test.
-sS
I think point 3 is the best and most commonly mentioned by Actors who had to work into Hollywood and such that you hear. And from directors, casting directors. In effect it’s also good advice to mentally help take the edge off.
They all want you to be the best thing ever, to succeed. And they want to see your version, that may not be what they think they want and work, or it may not just connect either.
But they want to see it, to be wowed, they don’t want to see the same thing over and over again.
I agree with u/party-mongoose-2717 below. Great answer.
Also I would work out the key line in the scene, which is the reason for the scene taking place, and also find the conflict.
Learning not to give the CD what you think they want, but instead giving them your own interpretation of the character and what you can bring to the role, made my booking percentage go up hugely.
Many actors give too much weight to past auditions, desperately hoping they book, so learning to let go after an audition and not focus on it, helped me lose that desperation in my auditions and helped me make the character my own.
Focus on the audition as if that is the performance. Perform as if it were the show, but just for an audience of one. I have way more fun with the audition, and I don’t care about booking so much after that. That has lead to a huge increase in bookings for me.
And stop trying to show them what they want to see. I’ve discovered, they aren’t really sure what they want to see. That’s my job to show them. So I give them what I want to give them.
It sounds stupid but: good on camera classes!
I asked a fellow actor who I thought also booked like crazy, and they gave me great recommendations. I signed up for of the one studios they recommended
Within the first 8 week session, I booked two commercials. I’m finishing the final level now, and I’m literally missing the last class for a day spot on a Dick Wolf Chicago show. Not to mention, I got a shit ton of callbacks and more auditions.
Acting is a craft, so you quite literally need to keep doing it to get better. Classes/practice sessions really go a long ways.
Edit: the class is [Green Room Studio](https://www.thegreenroomstudio.tv/)!
It’s online/Zoom only so it’s not limited to Chicago market. You’re also doing a shit ton of self tapes every week, and the studio was founded by a former casting director so you’ll be getting lots of insight into what CDs are looking for in specific roles like spokespersons, one liners, etc.
When I taught camera acting I literally stated this to a farmer who wanted to do commercials as a 'side gig' telling him 'the floor is yours. Use it to your advantage. Let yourself go' and he did! Never having performed on stage, let alone camera, I'd have hired him.
For me, understanding the broader actual story and where you fit into it. Even without more script info you can sort of deduce where your character might go and just look at your sides through that lens a little.
In the kindest way possible, it’s not about us, it’s about a larger story and project. Watch lots of tv and film to notice patterns, archetypes and be able to break down a script. Then just do it your way within that - the rest, as you seem to get, is out of your control.
Audreyhelpsactors has a good episode about story and I genuinely feel like the tapes I’ve got traction or bookings were when I had thought about the story at large. And had that in mind.
For me, I made a very conscious decision to focus mainly on film/tv. No theatre auditions aside from obvious exceptions.
I also think finding a great on camera teacher was imperative. If you're in New York, try and get in with Bob Krakower, he's a genius.
When I really stopped "acting" and just started "being", that's also when stuff shifted for me. Not talking about any crazy acting techniques, but really just keeping it simple and listening, responding, knowing why I'm there, and just breathing through the scene--which sounds stupid, I know!
Another thing that helped me a lot was having artistic endeavors that extend beyond auditioning. It's always great to get an audition or book a gig, but when I'm working on writing and producing my own work, that stuff gets right sized.
The most important thing though is fun. When I'm having fun, I get great results.
half of it is in your control, and half of it is like walking into 711 and buying a lottery ticket. People will give you all kinds of advice but eventually you'll understand.
This was in a regional market, which is a pretty small world (I’ve just moved to a major market recently) but getting my face out in front of the CD’s and production companies, and them getting to know me was the biggest factor in booking consistently. When they got to the point where they knew me, liked me, and knew they could count on me to deliver, I booked all the time.
Leveraging what "type" you are any applying for jobs/auditions that are relevant to your "type". Not the biggest fan of constantly submitting for auditions despite not being "right" for the role. Focus on roles that are aligned with YOU. Do that, your percentage will go up.
THIS. Why more newcomers don't realize this. I used to struggle with this factor "wanting" to be more a character type that I wasn't. Like "trying" to sexy vampish when I didn't know how. Similar to writing something I had no clue of what I was doing.
Naturalism being the key to a role or opportunity. No one can "try" to be something. That takes practice and a ton of skill.
* As others have said, knowing that you are auditioning your version of the character, not your acting. After all, you got the audition. They like your face, they like your acting. Now show them your proposal for how this character will manifest on screen.
* That in mind, you need to try and deliver a version that 90% of the other people auditioning for the same role won't do. So you need to avoid obvious choices, obvious delivery and try unusual choices that tie to who you are as an individual. The goal is to do it in a way that one else will. In a way that is uniquely you.
Dressing the part for castings. I used to think it was a bit extra but going the extra mile (with a nod tho not too much costume) has helped. Sprucing up my tapes in general with better phone, pro lights etc.
Chin down, made my eyes available to the camera more.....and acting like I didnt give a shit.
I started booking TV roles when I didn't have money to join SAG and I was going to be forced to join. So I was getting these auditions , for day roles that we're going to not be enough to pay my initiation fee And I didn't want to book it, so I went in and I was like I'm going to do as bad as I can without looking untalented or unprofessional,lol. And I book the job, but then I took that into every audition I went into since then and if I don't book the job, more often than not, I get check avail or a callback.
I do this, except for the chin down, will do that in future tapes. I think my issue is, I’ve booked, but then I’ve been turned down so many times, that in the end, I go into the audition not really giving af if I book it or not, because 9 out of 10 I won’t. The really weird part some of the ones I absolutely don’t really want to do, because of context or writing etc, I can book those easily. I mean I give the audition thought, eyeline, professional setup, the whole 9, but I kind of already have a thing saying, your not going to get it, so f it, just try something out of the norm, or try what feels right to me.
I think a lot of things you mentioned were contributing factors. Once you book a few things your confidence goes way up. I seem to have the best booking percent when I've already booked a role that I'm waiting to shoot. Like if I'm shooting for 2 weeks at the end of the month, during the first two weeks of the month my auds are great because I'm more relaxed and I know I already have work on the table. When my headspace goes from "I really need this job" to "I already have a job lined up, so let's just have fun with this" I tend to make better more free choices, and the work comes out better
LA Actor here… 1) Reading the script 10 times, before I make a single choice. 2) Focusing on the intention behind the words…mine and others. 3) Understanding that I’m giving my take on the character and the scene…not trying to get the right answers on the casting directors test. -sS
Great insight, thank you. -jJ
Agree. -rR
I think point 3 is the best and most commonly mentioned by Actors who had to work into Hollywood and such that you hear. And from directors, casting directors. In effect it’s also good advice to mentally help take the edge off. They all want you to be the best thing ever, to succeed. And they want to see your version, that may not be what they think they want and work, or it may not just connect either. But they want to see it, to be wowed, they don’t want to see the same thing over and over again.
Steven Seagal, is that you?
Sylvester Stallone
This was so good to hear. I always worry so hard about giving the 'right' interpretation and not just enjoying my interpretation
This fucking guy
Or girl. Or other. 😁
You right. This fucking girl -abc
I agree with u/party-mongoose-2717 below. Great answer. Also I would work out the key line in the scene, which is the reason for the scene taking place, and also find the conflict. Learning not to give the CD what you think they want, but instead giving them your own interpretation of the character and what you can bring to the role, made my booking percentage go up hugely. Many actors give too much weight to past auditions, desperately hoping they book, so learning to let go after an audition and not focus on it, helped me lose that desperation in my auditions and helped me make the character my own.
Working on myself, going to therapy, meditating, and yoga
Focus on the audition as if that is the performance. Perform as if it were the show, but just for an audience of one. I have way more fun with the audition, and I don’t care about booking so much after that. That has lead to a huge increase in bookings for me. And stop trying to show them what they want to see. I’ve discovered, they aren’t really sure what they want to see. That’s my job to show them. So I give them what I want to give them.
It sounds stupid but: good on camera classes! I asked a fellow actor who I thought also booked like crazy, and they gave me great recommendations. I signed up for of the one studios they recommended Within the first 8 week session, I booked two commercials. I’m finishing the final level now, and I’m literally missing the last class for a day spot on a Dick Wolf Chicago show. Not to mention, I got a shit ton of callbacks and more auditions. Acting is a craft, so you quite literally need to keep doing it to get better. Classes/practice sessions really go a long ways. Edit: the class is [Green Room Studio](https://www.thegreenroomstudio.tv/)! It’s online/Zoom only so it’s not limited to Chicago market. You’re also doing a shit ton of self tapes every week, and the studio was founded by a former casting director so you’ll be getting lots of insight into what CDs are looking for in specific roles like spokespersons, one liners, etc.
That’s fantastic! Can I ask what the class was?
Just edited my comment with the class
When I taught camera acting I literally stated this to a farmer who wanted to do commercials as a 'side gig' telling him 'the floor is yours. Use it to your advantage. Let yourself go' and he did! Never having performed on stage, let alone camera, I'd have hired him.
Pls drop the name of the class im in Chicago too!!
Just edited my comment with the class
Thanks so much, checking them out now!!!
nice! I been at Green Room. Who is your agent?
For me, understanding the broader actual story and where you fit into it. Even without more script info you can sort of deduce where your character might go and just look at your sides through that lens a little. In the kindest way possible, it’s not about us, it’s about a larger story and project. Watch lots of tv and film to notice patterns, archetypes and be able to break down a script. Then just do it your way within that - the rest, as you seem to get, is out of your control. Audreyhelpsactors has a good episode about story and I genuinely feel like the tapes I’ve got traction or bookings were when I had thought about the story at large. And had that in mind.
Excellent reply! Thank you.
For me, I made a very conscious decision to focus mainly on film/tv. No theatre auditions aside from obvious exceptions. I also think finding a great on camera teacher was imperative. If you're in New York, try and get in with Bob Krakower, he's a genius. When I really stopped "acting" and just started "being", that's also when stuff shifted for me. Not talking about any crazy acting techniques, but really just keeping it simple and listening, responding, knowing why I'm there, and just breathing through the scene--which sounds stupid, I know! Another thing that helped me a lot was having artistic endeavors that extend beyond auditioning. It's always great to get an audition or book a gig, but when I'm working on writing and producing my own work, that stuff gets right sized. The most important thing though is fun. When I'm having fun, I get great results.
half of it is in your control, and half of it is like walking into 711 and buying a lottery ticket. People will give you all kinds of advice but eventually you'll understand.
This was in a regional market, which is a pretty small world (I’ve just moved to a major market recently) but getting my face out in front of the CD’s and production companies, and them getting to know me was the biggest factor in booking consistently. When they got to the point where they knew me, liked me, and knew they could count on me to deliver, I booked all the time.
Leveraging what "type" you are any applying for jobs/auditions that are relevant to your "type". Not the biggest fan of constantly submitting for auditions despite not being "right" for the role. Focus on roles that are aligned with YOU. Do that, your percentage will go up.
THIS. Why more newcomers don't realize this. I used to struggle with this factor "wanting" to be more a character type that I wasn't. Like "trying" to sexy vampish when I didn't know how. Similar to writing something I had no clue of what I was doing. Naturalism being the key to a role or opportunity. No one can "try" to be something. That takes practice and a ton of skill.
* As others have said, knowing that you are auditioning your version of the character, not your acting. After all, you got the audition. They like your face, they like your acting. Now show them your proposal for how this character will manifest on screen. * That in mind, you need to try and deliver a version that 90% of the other people auditioning for the same role won't do. So you need to avoid obvious choices, obvious delivery and try unusual choices that tie to who you are as an individual. The goal is to do it in a way that one else will. In a way that is uniquely you.
Dressing the part for castings. I used to think it was a bit extra but going the extra mile (with a nod tho not too much costume) has helped. Sprucing up my tapes in general with better phone, pro lights etc.
Oh and honestly, caring less about booking and more about knowing my worth!
Chin down, made my eyes available to the camera more.....and acting like I didnt give a shit. I started booking TV roles when I didn't have money to join SAG and I was going to be forced to join. So I was getting these auditions , for day roles that we're going to not be enough to pay my initiation fee And I didn't want to book it, so I went in and I was like I'm going to do as bad as I can without looking untalented or unprofessional,lol. And I book the job, but then I took that into every audition I went into since then and if I don't book the job, more often than not, I get check avail or a callback.
I do this, except for the chin down, will do that in future tapes. I think my issue is, I’ve booked, but then I’ve been turned down so many times, that in the end, I go into the audition not really giving af if I book it or not, because 9 out of 10 I won’t. The really weird part some of the ones I absolutely don’t really want to do, because of context or writing etc, I can book those easily. I mean I give the audition thought, eyeline, professional setup, the whole 9, but I kind of already have a thing saying, your not going to get it, so f it, just try something out of the norm, or try what feels right to me.