WHY DIDN'T THEY PICK ME?

All directors work differently, but I would say overall that if you're not getting a healthy percentage of commercial callbacks then something is wrong. Either your going out for the wrong parts, or you need to work that much harder on your acting technique across the board.

However, if you find yourself going to a fair amount of call backs and not quite closing the deal…. This list is for you. The following are all reasons that I, along with the agency creative's I’ve worked with, have not chosen someone… regardless of the fact they did everything they could possibly do to get the job. In my seminar I’m able to explain each thing in more detail, but you’ll get the idea.
(I have phrased it as sort of a mantra you can repeat to yourself that will hopefully make you feel better in your time of anguish)

1. Although I had a great audition, and dressed the part, I naturally didn’t have the “right look” (I wasn’t really the right type), and there is nothing I can do about that.

2. I had the right look, I killed in my audition, they laughed out loud and everything!…. But I don’t make a good match with the other person (or people) in the commercial I have to interact with, and that persons role takes priority in the script.

3. The agency changed their mind creatively about the direction they wanted to go with this character. (This sometimes includes race and/or gender changes)

4. They’re still shooting a campaign, but the specific commercial I went up for was killed all together.

5. I was in the final pile, out of 45 people it was between me and somebody else, and even though everyone acknowledged that I would do a great job, the other person has that slight extra something that they carry with them… in their chemistry or performance, that tipped the scale in their favor.
(You can add a “And they forgot to call and tell me this” to the end of all of these!)

Let me add one thing in here... IF you are put on hold after a callback in the commercial world, it usually means you are in the top 3 and are getting put on a disk (in order of preference) for final approval from the client. Thus, it means we like you and would shoot the commercial with you... even if you are not the first pick. I say this because occasionally a client will go for #2, and so as a director I can’t afford to put just anyone on as a backup. Unfortunately many of you get SO close, but never really understand what happened. Hopefully some of this info will help you come to terms with it a bit quicker and move on.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

JOCKEYS

To my surprise this has become a minor Youtube favorite.

Quick casting story. The Jockeys are the real deal, Chris McCarron and Alex Solis are very famous jockeys, I think retired now. Because the comedy of this commercial was written into the script, I didn’t want the actor, or the jockeys, to act wacky... or funny... rather I wanted them to be as serious as possible. I felt this would play much better against the absurdity of the situation, and in the end it did.

So when casting the cop, we told everyone BE A POLICE OFFICER. Don’t be a wacky cop, or a southern cop, just play it as straight and normal as possible. MANY did not listen. It was like a goofy cop parade regardless of how many times we said “Normal Please”. Finally we found the right guy, and ironically I learned later that he USED to be a cop before he started acting.

The point is, and all casting directors tell me this, many actors do not listen. They get so nervous and have run through their plan of attack so many times in their head, that when they get into the room they tend not to hear any adjustments. This makes it look like you can’t take direction, when in fact it’s usually just a case of the nerves. Remember to listen, especially on a callback, to what is being said.

Some of you who have been doing this for a while may wonder why, when you get in the room, so many things have been changed since your first call and nobody told you. The reality is, (as far as commercials go anyway) this is usually the first time the ad agency and director have been in the same room together, and watched the script actually come to life in front of them. So naturally, lines are added, or cut, and actions are changed. It’s part of the creative process, and often it’s happening so fast the casting director out front isn’t even aware of it. So go in with a plan, listen to adjustments, and roll with it.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

ACTORS BLOG IS UP!

I've been fortunate to have built a directing career here in Los Angeles, meeting many wonderful mentors, teachers, and friends along the way. Now that I have ventured into photography... I find myself dealing one on one with both beginners, and veterans to whom... because I've been in production for so long, I can offer my guidance and advice well beyond the headshot.

I've also been teaching seminars and guest speaking at a variety of events for a few years now, in the blog I hope to pass along the kind of stories and advice I would often share at these venues.

I encourage you to let me know if this information helped you, ask questions, and leave comments. I have only recently been on blogger (as of March) which allows comments, followers, subscribers etc. so in many ways this is brand new.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel