I spent last weekend, and will next spend next weekend, casting for our movie, Scream at the Devil. The level of talent coming in is amazing, mostly due to Joseph’s weeding out of anyone without fairly serious acting credits, but there are still distinct differences in style and effort.
Some people have memorized the lines, some have costumed for the part, some even bring props. Some are cheerful and complimentary, some are aloof, some are focused to the point of distraction. As actors ourselves we understand that everyone has their process.
Obviously, I’ve been involved in many casting sessions before, mostly on the actors’ side, but I’ve also been on the other side, because of directing theatre and sometimes being the actress who needed to be ‘matched.’ And it’s an eye-opening experience. If there were one thing that I could tell actors about this process it would be this—don’t take it personally.
The second thing would be this—make strong choices. Now you have to understand that 98 percent of the people judging you have absolutely no clue about acting. They have an idea in their head of an imaginary person in the part, and they just want that person to walk in.
Which is why, most of the time, I could tell from the minute I entered the casting office if I had a shot or not. There have definitely been times that I could change that, but they were rare.
What I mean by making choices is that you make choices about the character. How they behave, how they speak, walk, hold themselves, how do they feel? A decent director, or even casting director knows that if an actor comes in with strong choices, and they aren’t the ones they are looking for, most likely that actor can make different choices, and they will ask for an ‘adjustment’ to see if the actor is capable of being directed. They should do this anyway.
If the director doesn’t understand the process, they won’t ask, and all too often, the cold read they got in the audition was a lucky guess and the best they will get on the set, a real actor who has range will only improve.
I remember one audition in particular, where the other ladies were coming out of the audition pissed off. They all said the same thing, “The director didn’t look at me! He was looking down and writing the whole time!” So I went in. The casting director started to read and I didn’t start. She looked up at me in surprise and I was watching the director. Wondering why no one was speaking, he looked up, and I asked, “Are you ready?” as though I had only been being polite. He nodded.
I started the scene and he looked back at his clipboard again. So I got off the chair, onto the floor and crawled across until I was right in front of him, low enough for him to see me, and did the lines from there. It shocked him, and clearly made him uncomfortable.
But he offered me the part, which I refused, because it wasn’t a good enough movie for me to work with a director that had no idea how to respect or work with actors.
I used to look at a script for how good it could be, I learned to read it for how bad it could get. There just aren’t many great directors out there, and people with real creative talent—not to mention good taste—are the exception not the rule.
For our casting sessions, the actors coming in are getting to read with experienced actors, myself and other theatre actors from Joseph’s company who have come in to help out and get the invaluable perspective of being on that other side. And Joseph worked with each person auditioning to give them input and adjustments.
They even get a rehearsal. What? Crazy. Stop it, that can’t be true. You mean I’m not reading with the casting director’s assistant who speaks in the same monotone they use when they do their main job, answering the phone? You could see the relief and gratitude on their faces. It was a treat for them. Whether they get the job or not, they got to act. Fun.
You see usually, you go in, introduce yourself, read the scene one time across from office personnel, and you’re outa’ there, hoping desperately you accidentally did something they liked.
Ultimately, there’s a particular personality and look that needs to be filled, the best performance doesn’t always get the job. And sometimes your two best actors just don’t work as husband and wife, or sisters, or what have you, so you have to go with what services your script.
Don’t take it personally.
But do your homework, be prepared, have a question about the role ready to ask. It just shows professionalism. You might not be right for this role, but the powers that be will remember you as someone they can trust to call in the next time.
And remember this. The people who you are so nervous to see, who you are trying to impress, who you know are judging you, they want you to be good. It’s in their best interest, that’s what they are there for, hour after hour. So take them into your space, audition them. Are they good enough for you? Are they rooting for you?
I haven’t been on many non-acting job interviews, but I’ll bet the procedure is pretty close whether it’s an accounting firm or a retail position. You can’t predict what they want or will hire, but you can be pleasant, prepared, and know that the choice is sometimes random.
So make good choices, enjoy the interview, and walk away. Just like life, be the best you can be, and know that you can’t please everyone and every personality won’t agree with yours, what you say and how you act this morning is different than the way you will feel and act this afternoon. Accept that. The dots that need to connect aren’t always in your control, but if you’re ready, and you work hard, and you stick with it, the numbers will usually come up, eventually.
If it doesn’t, don’t blame yourself, it might not have anything to do with you, so go be brilliant in your next audition or in something else all together. Kiss your kids, bake a cake, volunteer, smile at someone sad, it’s all important, and you never know what will lead to your next big break.
And if that person doesn’t smile back, don’t take it personally, you did your best.
That’s all that matters.
Shari, January 23, 2013.