RESEARCH WHILE YOU WAIT

I just taught another class for Carolyne Barry, and in the Q&A someone asked me about researching the director. In reality, you probably will not know who the director or production company is until you are in the waiting room. However, thanks to Iphones, and blackberry's and all that PDA stuff, chances are you can pop onto the internet and view a campaign, or a directors reel if you are a little resourceful. I would recommend spending most of your time prepping for the audition via the more traditional methods... but if you have the time, then why not.

Sometimes (not always) on the casting board you can see who the production company is as well as the director. If it's not listed, and you feel comfortable, then you can certainly ask the CD as well. Your best chance of seeing a commercial directors work is via the production companies website (which is usually a google away).

Just like Actors have "types" so do directors. There are all kinds of specialized directors... comedy, car, kids, food, sports, testimonial, spokesperson, fashion... etc. Therefore, if you are able to view a directors work it may help you see the tone in which they specialize, and perhaps see why THIS director was chosen to do this particular campaign by the Ad Agency. Better yet you may realize the commercial you are going out for is part of a past campaign, and that campaign already has a look and a feel to it that you can draw influence from.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

WOMEN IN FILM

Several years ago... before Youtube and 24 hour film festivals... I directed my first short film. I had been editing music videos and commercials up to that point, so knew very little about the short film market, how to submit to film festivals and all of that. I read somewhere that the WIF was having a "Short Film" discussion, complete with industry experts at their next meeting. When I realized the WIF was "Women In Film" I hesitated, but then decided to call and ask if I... being a guy... could go there. Looking back, a rather brave thing to do I think, but off I went.

I remember learning quite a bit about short films, AND that being in a room full of strong, motivated women is... interesting:) There was a group dynamic I had not experienced, they were talking about men, and men in the business with such openness... I felt at one point they were going to see me huddled in the corner and attack! It was all in good fun, and the short film I directed (Shooting Star) went on to screen at Sundance and all over the world!

ANYWAY, this is how I came to know WIF, and felt any woman in film would find it a great resource. Check it out...
Women In Film

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

REJECTION ISN'T REJECTION

After 2 callbacks, Tim did not get the gig... he does not know why. He complains to his scotch, but it's of little comfort. Soon Tim will be angry, bitter, and drunk wandering around the streets wondering why he wants to be an actor.

Rejection in this industry is not really Rejection. What I mean is, WE NEVER "REJECT" YOU... WE SIMPLY DON'T PICK YOU. There is big difference, and if you realize this you gain helpful perspective on how casting decisions are made. One of the most liberating things for an actor is to watch a casting tape of other actors. It doesn’t matter if it’s for a diet pill or a guest appearance on ER… once you experience what it’s like to watch so many different people approach the same material, you realize how subjective it all is. Every person has their own look, vibe, hair color, skin color, etc. No two actors come across “the same” way. In fact many times the choice comes down to minor details and preferences..

Your goal is to get a callback. That means that you connected with someone on some level and they want to get a closer look. If your not getting a healthy percentage of callbacks then something is wrong. Either your going out for the wrong parts, or you need to work on your acting skills. On the other hand, if you find yourself going to a fair amount of call backs and not quite closing the deal…. It could be any number of things beyond your control (see earlier entry "why didn't they pick me") So remember, that feeling of rejection is an illusion you are investing in... there is nothing personal in any of this... it simply was not your job to book.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

WHERE IS THE LENS?

This is a quick entry, to be filed under obvious BUT important. Always be aware of the camera and your position/eye-line in relationship to lens. If you are doing an audition solo, and they don't give you a specific eye-line, then pick a point as close to the lens possible without actually looking into it. If you are off to one side of the camera, even slightly, then aim your eye-line across the lens. In other words, if the camera is slightly to your left, then send your eye-line to the far left of the lens.

In a scene with another person, always angle yourself as much as you can towards camera, send your performance into the lens. Basically think about how much more powerful a close-up front shot is to a medium-shot profile. Obviously you have no control over how the shot is framed, but the energy of your performance is always more powerful the tighter the shot, the closer the eye-line. Keep that in mind especially on your first calls where eye-line direction from the camera operator or casting director is often not mentioned.

Also in a call back, directors will notice if you seem oblivious to the camera... facing away, or looking way off lens. This is not all that uncommon, especially when doing a scene with another person... however, it does scream "Newbee". All common sense, but easy to forget.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

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ACTING WITHOUT DIALOG

I get asked a lot about the "no dialog" audition. The question is usually "What the hell am I suppose to do?". Non dialog auditions usually break down into two categories... 1. "Just Action" and 2. "Getting to know you".

"Just action" is something like... "Ok you sit down, turn on the TV... and you're surprised at what you see, not shocked... but just surprised". The best plan of attack on things like this is to ask yourself "WHERE AM I". Yes, a standard acting approach... but seriously... "WHERE ARE YOU?" And answer it down to the most specific detail. Create a 4th wall with substance, with meaning, make it crazy real to you. Subtle is NOT easy, if you are in your head it will not feel genuine. So create in great detail the room, is it carpet, or wood floor, what kind of TV is it, is it mounted on the wall, what's around it, are you on a couch, how does it feel, is it saturday afternoon, is it late evening, ALL of this is important. Then just exist in this world you created... don't TRY to exist in it, just exist in it.

When you are at home, what is the thinking process when you walk over to the couch and turn on the TV? For me, there is no thinking process... other then maybe , "I wonder what's on". Everything else... walking across the room, sitting down, picking up the remote, is on autopilot. I don't think at all about it... that's the key.

The "Getting to Know You" is when the action is so basic, they don't even bother having you do it, rather they ask you a bunch of questions to get a feel for who you are. This is your chance to impress, and any improv training really shines here. So be ready to be personable, fun, have a story, be interesting. If you haven't, take an improv class of course.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel