During and After the Audition - by John Essay

As I was saying in my last article “Preparing for a Great Audition”:

Always arrive a few minutes early. As you sit in the waiting room for your name to be called, it may be helpful to carry an index card with some key phrases to remind you of your preparation and to keep you focused, i.e. “Stay focused,” “Keep energy up,” “Do my third audition first.” “Make a strong beginning,” “No one is better than me,”—write whatever sayings that inspire you to do your best. Take another look at your notes in your audition diary and get ready to make all your preparation pay off!

Now it is your turn. Once your name is called, walk in with an upbeat demeanor and greet the people behind the table with a smile and your name. Don’t try to shake hands unless prompted —not only does this slow down the auditioning process, but it is also for health concerns: no casting person wants to shake a hundred hands, nor do you want to shake the hand of someone who shook a hundred hands. 

Have your picture and résumé out and ask if they would like one (remember to take control of your audition; you lead its course). Be aware that some people behind the desk may not be as gregarious; don't let this throw you. It has nothing to do with you. Now you need to quickly assess the room (its size; where you are going to stand; if you need a chair).

The director or casting director will ask you to begin your scene or monologue. This is your time. Every audition should have the adrenaline of opening night, which you can use to fuel your performance. These are your two minutes. Get the most out of them. 

If doing a monologue, it is best not to make eye contact with anyone in the room; use a different focal point like a person's ear or forehead. You can also pick a spot on the wall, a place on the table, just as long as your head is up and your eyes are visible and your voice is loud and clear. 

When doing a scene, you should know the material well but hold your sides to refer to—you should have rehearsed both when you will look at your sides and when to flip the pages. Keep in mind that we need to see your face so hold the sides away from your head; practice turning pages as quietly as possible—this will be extremely important if you are going on tape. You must look at the person you are reading with. (What is a scene if there is no communicating between two people?)

If your reader seems to be a less stellar actor than you had anticipated, there are different ways to approach this: 

Know the material so well that you can stay on point emotionally even if the person seems absent, or try to use it to your advantage, if appropriate for the scene. (If it's a scene that requires some anger on your part, that certainly would be appropriate). Remember that the quality of the reader is not in your control. 

If you are asked to make an adjustment to your material, please make sure you understand the adjustment. (If you don't understand it, speak up.) If you need a moment to adjust to some direction, say something. If you have a question, ask it. You are in control of your audition. When you are finished with your scene or monologue, you might say, “I’d be happy to do it again if you have any adjustments for me,” or “Is there anything else I can show you?”

Most casting professionals will be friendly and encouraging—after all, they are hoping you will be terrific—but sometimes your auditioners will be less than enthusiastic at your audition. I can't tell you enough how often adverse reactions of the people behind the table have nothing to do with your audition. It just happens. Remember, these creative people are people just like you and me. We all have bad days, we all sometimes hold grudges, we all take it out on people and sometimes we can spend the day zoned out and out of touch. Don’t let it phase you.

After the audition, write down what happened in your audition diary, analyze it, learn from it, and move on! You are doing yourself a disservice by trying to figure out what was on the casting director or director's mind, or if you're getting a call back or even if you'll get the job. It's wasted energy. Just analyze how to better prepare yourself so you can figure out what you can do better at your next audition or congratulate yourself for a job well done.

Try to remember: It's not always about getting the job. Try accomplishing one of these three goals at an audition and if you walk out feeling you've done any of these, you've won the game. 

Impress the casting director enough to call you in for another project. 

Use the audition to learn something for future auditions. For example: “I asked a question about whether I could move during the scene and that was well received and helped my audition.” 

Have fun! Do not expect to be perfect, for there is no perfection. Perfection leaves no room for mistakes and growth. Aim instead for excellence. Excellence is a far healthier goal, and one that is actually attainable. 

Now, go forth and conquer!

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Don't Compare Yourself to Other Actors - by Robert Curtiss

Actors can be supportive and encourage each other in this business, but actors can also feel competitive with each other. Some actors will get breaks that you did not, and others may become quite successful while you are still slogging away in a restaurant job or just trying to make ends meet while taking classes. These situations may feel bittersweet. You may want to feel happy for them, but you may also feel envious and frustrated that you have not been as fortunate. Try to resist the urge to compare yourself to them, and instead be happy for their success, as you would want others to be happy for you if you were in their place. The fact is that only one person gets cast in a role. So make peace with that fact and continue honing your craft. Hopefully sooner than later you will be cast.

Although it can be hard not to compare yourself to others, remember that comparing yourself to someone else is an inaccurate measuring stick, and it can erode your self-esteem and send you into depression. When you compare yourself to others—whether in regards to a relationship, a career, or other achievement—you are only comparing yourself to your perception of others. Everyone has different life circumstances and different paths. You are on your own unique journey, and it may take longer or go in a different direction. However, it will never be the same as anyone else's, and it has just as many opportunities and possibilities.

It is understandable to feel envious of others’ successes, but remember that envy is usually just a good indicator of your own insecurities. When you can figure out why you are feeling insecure, you can start to overcome it. A good psychotherapist can come in handy for these situations, and help you focus instead on your own strengths.

When you find yourself comparing yourself to others, stop for a minute and ask yourself: What am I grateful for in my life? What relationships have I made that are important to me? What accomplishments have I made in my life? What have I done recently that I am proud of? In what ways have I grown and improved? What steps am I taking to keep growing?

After all, these are the things that really matter.

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4 Steps to Taking Criticism as an Actor - by John Essay

As a manager, I advise clients on career choices, groom them for the industry with guidance on new headshots, resumes, classes, and type choices. I also make professional introductions, and personally advise them on every step of their business, which includes some aspects of life coaching. 

Presumably, actors know this—and want this—when they are seeking a personal manager, or other forms of representation. Yet some actors come into my office thinking I am going to be amazed at how talented, professional, and on top of things they are, and they seem to think I will simply agree to represent them with no advice to offer. When they hear my suggestions, they look stunned and uncomfortable. I can't tell you how many times I have met with an actor for the first time—for our "interview"—and started to tell them something they didn't want to hear—that I was unable to represent them, or that they needed to get new pictures—and watched them "tune out." I can watch it happen before my eyes. Their eyes glaze over. They nod like they are listening, but I can tell they just want to get out of my office as soon as they can.

I wonder how well these actors take direction on stage or on screen. I wonder what is going to happen if we decide to work together and we encounter a crisis. How can I help someone who can't listen to my advice, or accept anything they feel is critical of them?

A happy life and a fulfilling career require personal growth, and understanding criticism is essential to personal growth. Criticism is everywhere so try to use it to your advantage.

Here are some simple steps to constructively deal with criticism: Hear it, evaluate it, learn from it, and take action.

1. Hear the criticism. Just listen. Resist the urge to justify, excuse, or defend yourself. If you're not ready to analyze the critique, analyze it later.

2. Evaluate the criticism. Does this criticism apply to you? Is the critic speaking truth or are they off the mark? If you are unsure if the critique is true, ask someone close to you that you trust.

3. Learn from it. If the criticism is justified, you have been made aware of something you need to adjust, change, or do. Accept this knowledge.

4. Take action. Once you have figured out what action you should take, do it. This is a typical time for procrastination, but I urge you to make the changes instead.

This process of handling with criticism will be a tremendous advantage to you as an actor. I wish you much success!
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ARE YOU READY FOR REPRESENTATION? by John Essay

Many actors start looking for a representative as soon as they get to the city; they have been told (usually by people who are NOT in show business!) that they first need to get an agent or manager. These actors seem to think that once they get a representative, the hard part is over; now they think someone else is going to be responsible. Remember, an agent or manager gets only 10% to 15% commission for their work. That should mean that they do 10% to 15% of the work. Think about it. Who is supposed to do the other 85 - 90%?

You should never pursue representation until you are confident that you are able to compete in the major areas of the industry: Film, TV and Theater.  If you are too green, casting directors may remember, and your representative will have a hard time getting a second chance for you to be seen.  When represented, you should always be at the top of your game.   You must be a great auditioner: you must be able to make the best of the short window of opportunity that you have in an audition. This means you must be exceptional, because good enough just doesn’t cut it, and it won’t get you the job over the other actors who are also good enough. You must be able to give your third audition first, meaning you must make strong choices and fully execute them, yet be able to take direction if it is given and fully commit yourself to that direction (instead of only doing what you had prepared).

The more you bring to the table, the more you will help your representative do his job. Have you had adequate on-camera training? Do you know the subtle differences between a TV audition and a film audition? Are you continuing to build your craft every day? Do you know what's going on in the industry, i.e. what plays you are right for, who are the casting directors for various projects, etc.? Do you have any contacts and connections that your representative should be aware of?

You have to be knowledgeable and able to do what is expected of you. Be skilled at your craft. Be open to advice and counsel (remember, they are the ones with the expertise!). Be prepared to go to auditions and know how to get there. Have the money for your basic business expenditures; there is nothing more frustrating than an actor who doesn't have the basic money to accomplish the basic needs. It does not cost a lot of money to set up your acting business. You need money for pictures; printing resumes; postage and envelopes for mailings; classes; basic wardrobe; transportation; grooming and research (theater, movies and publications). If you are not able to pay for these minimal expenses, then it doesn't really matter how talented you are; you most likely are not ready for representation.

Remember that finding a representative doesn’t necessarily mean that you have found the “right” representative for you. When you do find representation, I hope that you and your representative have an amicable relationship that is mutually beneficial.  I wish you good luck on your journey!
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