FACT: 99% of Casting Directors will ONLY work with people who have training!
Casting always checks out your resume. I cannot stress the importance of constantly training! It DRAMATICALLY increases the probability of you, not only, getting an audition but BOOKING. And we all want that 🙂
This weekend we’re offering an on camera day of workshops! MARCH 9 10-4pm
Film and TV Acting Workshop you walk away with a taped scene that you can upload to your networking sites (Casting workbook, Actors Access, Breakdown Services, 800 Casting) showing casting your most recent work! It also helps your agent when they are pitching you for roles!
Did you know that commercial actors can make a VERY comfortable living? Learn from 2 of our coaches in our Commercial Audition Workshop who have booked well over 80+ commercials between the 2 of them.
It’s a great opportunity to dig deep, stretch, add to your acting materials and study with some of the best acting coaches in Toronto.
Talent and training are the keystones to a successful career, but don’t let bad judgement, getting advice from the wrong sources, or not being prepared bring down your potential success!
1. Not being trained for the market for which you are auditioning—prime time, commercials, musical theater.
Primetime drama, comedy, film. Want to work on a sitcom or a primetime drama? Better understand “cold copy” audition technique. They won’t ask you to audition with a monologue or a scene you rehearsed in acting class. After getting a “side” you have little time to give a natural performance—very spontaneous with a believable character. It’s over in minutes. The fun and challenging part is creating that character playing opposite a reader—sometimes not even an actor who is blandly reading the other lines— it’ll show your real talent and creativity!
Commercials. Take a class with an actor who’s shot commercials, as well as a commercial casting director. Casting directors are often great teachers, but they aren’t in the room during the final casting, and so they don’t always know why an actor gets hired for a network spot. Learn from a working actor who’s been in the room for the callback and booked the commercial.
Musical theater. Do workshops with working Broadway actors, especially for musicals. It’s tough making the cut from a musical or dance audition, so seek out and work with choreographers who hire singers and dancers from their network. They can show you what you need to do to be up to speed.
Train for all these markets, but don’t just accept the knowledge you gained in a college drama program or conservatory training. To become professional, always work with working professionals!
2. Not being up to speed with your marketing tools. If you’re embarrassed to show yourhead shot—it doesn’t look like you, is several years old, or is in black and white—get a new one. Go over your type and brand before the shoot and wear the appropriate wardrobe. Suggest the roles for which you would be cast, as well as showing your personality and energy.
Resume. If your resume is badly designed, not trimmed properly, and attached on the back of your head shot, update and refine it. Use columns which are easy to read quickly, rather than long sentences and credits going across the page. Include 5 categories: theater, television/film, training, education, and skills. Avoid phrases like: “community theater,” “student film,” “lead,” “stage experience,” “high school production,” “modeling contest,” and “runway experience”— they tell the industry that you’re still an amateur. Use the correct terms and lingo.
Monologue. If your monologue has never booked you a job, and is from a play over 10 years old, update! Choose new material possibly from television or film. There are some great lawyer closing speeches from certain series, as well as doctor monologues from medical dramas—”FBI agents,” “Spies,” etc.
Website. If you don’t have a website—where the industry can find you and get all information about how to cast and hire you—get one! Include at least 5 pages: a welcome page with your headshot, bio/resume, video/film, photo gallery, and contact.
Demo reel. If your demo reel is made up of student and indie film clips, and you’re playing roles that don’t exist in television and film, shoot a new one! There are companies who do this. Your sizzle reel should show your three most marketable roles, not generic ones—girlfriend, guy with gun, angry woman. Can you play: a doctor, lawyer, FBI agent, undercover cop, investigative reporter, or suburban dad? These are specific roles in which you can get cast. Show the industry what you can play and you’ll get auditioned and hired for that.
Indie directors often choose the genre that will get their career started as fast as possible—horror or science-fiction. These do not necessarily sell you. Avoid scenes full of violence—obscenities and shooting guns, aliens and special effects. A good demo shows your believability. It shouldn’t be trying to impress someone with the director’s style.
3. Asking friends, relatives, strangers or non-professionals for advice about your career. This is probably the deadliest sin of all. Would a brain surgeon ask his best friend, a guy who owns a car dealership, how to operate on his patient’s brain? If not, then why would an actor ask a friend, someone not in the arts, about choosing their head shots, formatting their resume, or performing their monologue? Spouses, mothers, and best friends are a wonderful source of support and love in your life, but are the wrong choice for career information. Worse, some actors go to online sites and ask total strangers who may or may not be working actors how to be successful. They’re not reliable sources of information about acting classes, head shots, demo reels, or meeting the industry.
Successful actors. If you need advice, turn to successful, working actors who might be in your acting class, when not shooting their television series, major film, or appearing on Broadway.
Industry professionals. Casting directors and agents are also a good people to give advice—many of whom teach classes and workshops. Read books written by experienced industry professionals.
Career coach. If they have had a successful acting career, they might also be your best source of information and guidance about acting! Acting teachers may have great advice on technique, but not necessarily on a marketing campaign, or creative choices for your marketing tools—head shots and demo reels.
If you want a successful acting career, seek out the professionals who have the right answers based on experience—successful professionals who’ve been there, done that!
As the founder and executive director of The Actors’s Market, Gwyn Gilliss provides free monthly info seminars, agent/casting director interview tele-seminars, weekly marketing tips, as well as many coaching programs to help actors break into both the NY and L.A. industries. Gwyn has tremendous success with her private career coaching clients. More than 90 percent get agent representation launching their careers with performances in feature films, Broadway productions, and Emmy-award-winning primetime TV series, such as “The Good Wife,” “White Collar,” “Grey’s Anatomy,” “NCIS,” “House,” “Law & Order,” “30 Rock,” “Criminal Minds.”
Email her to request a free 15-minute career session: email@example.com.
Get a one-on-one coaching with FSA Artistic Director Monica Mustelier in this 1-day Film/TV audition workshop. You have to stay sharp and on your toes in this very competitive industry. Hone the skills you need to enable yourself to feel confident, get calls backs and land the job.
This workshop will help you:
-Know what the casting process for film and TV (it’s very different than commercials and theatre)
-great script analysis techniques
-make solid choices that inform your work in an interesting way
-how to communicate the story
-authenticity in your auditions
-how to work with the camera
-Confident when you walk into a casting room!
*Actors will be assigned a set of sides the week before the workshop. Send resume and headshot or picture when registering. Please be memorized to get the most out of your time.
This fun hands-on one day workshop is designed to get you feeling confident and informed when you walk into the audition room. You will walk away with techniques that will get you booking commercials in no time!
This class will help you:
– Know what the casting process for commercials is
– The business side of acting from agents to your acting materials
– Help you to understand what you can control in auditions
– Use your nerves to your advantage and your mistakes into your best audition
– Pinpoint your demographic and your “type”
Freedom School of the Arts
1965 Britannia Road West Suite 211 Mississauga, Ontario L9T 3V8
Tel: 905-997-6100 Email: firstname.lastname@example.org
113 castings this week!
Please direct all responses and inquiries directly to the theatre or association listed in the e-drive notice below.
Production name: She Loves Me
Date production rehearsal/job starts: 05/29/2014
Audition date: 11/11/2013
Deadline to submit: 11/01/2013
Email applications to: Ashlie@1000islandsplayhouse.com
Contact name: Ashlie Corcoran
Contact email: Ashlie@1000islandsplayhouse.com
Contact phone: 613-382-7086
Engager Website: www.1000islandsplayhouse.com
Ethno-cultural mandate or ethno-cultural casting statement:
Applicants from all ethno-cultural backgrounds are encouraged to apply.
The Thousand Islands Playhouse is producing She Loves Me (Book by Joe Masteroff, Music by Jerry Bock, Lyrics by Sheldon Harnick) as part of the upcoming 2014 season. It will be directed by Ashlie Corcoran, with music direction by James Smith and choreography by Shelley Stewart Hunt. Submissions are being accepted for the following roles:
ARPAD LASZLO: Young, bushy-tailed delivery boy. Indefatigable. Appears to be 15 or 16 years old. Tenor.
GEORG NOWACK: “Very average.” Well-read. Shy but can be sharp if needed. “Middle management” – but capable and trusted. So far, not so lucky in love. 30-40’s. Baritone.
LADISLAV SIPOS: Browbeaten clerk, compliant. 40+. Baritone.
MR. MARACZEK: Old World shop owner. Genial, but capable of being difficult when the occasion arises. Stubborn. 50+. Baritone.
STEVEN KODALY: Rakish, dashing clerk. Handsome. Maybe a bit shallow. 20-30s. Tenor.
WAITER: Hell-bent on keeping his establishment romantic. 30-60. Will part of the ensemble. Tenor.
3 female ensemble members / 2 male ensemble members
NOTE: AMALIA BALASH and ILONA RITTER HAVE ALREADY BEEN CAST.
Indicate character(s) of interest
PLEASE NOTE IF YOU CAN PLAY THE TRUMPET – AND AT WHAT LEVEL
Please send photo/resume to Ashlie@1000islandsplayhouse.com. E-submissions only. No phone calls please.
Equity members will be seen first at all open audition calls. Equity members cast in this production will be engaged under an Equity form of contract. CAEA members: please bring your membership card to the audition.
SEEKING–> TALL MEN
– 6’6″ or taller
– age range 19-35
– MUST be smart serve certified
For a Live Event taking place on November 14th
Pays $250 for 1.5 hours
E-mail pics and contact info to email@example.com
Seeking Athletes for a National Print Campaign:
– MALE basketball players
– MALE cyclists
– generally fit FEMALES
– age range 27-40
Auditions: Friday Oct. 18th or Monday Oct. 21
Shoot date: October 23rd, 24th, or 25th
Pays: $950 +
Please e-mail pictures and contact information to firstname.lastname@example.org
**Please note “Project Athlete” and your name in the subject line
APPLY TODAY ASAP!