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VIRTUAL CASTING TIPS (Y’all need to read this…)

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Virtual Casting is a whole different ballgame.

By now, y’all know how to use Zoom. You have a great self-tape set-up. You’ve studied audition technique and feel rooted in your acting abilities and experience.

Put ALLLLLLLLLL of those things together, add a bit of on-the-fly-do-it-yourself IT work and you have Virtual Casting.

Virtual Casting is stressful. For you, for Casting, for your roommate or partner who are desperately trying to help you fix whatever has gone wrong in the middle of your session… it’s a whole new skillset and we’re all on the learning curve together. But right now, it’s our way forward, so in an effort to help alleviate some of the anxiety around this stuff, I’ve put together a LONG-ASS list of tips for you to reference as you practice Virtual Casting.

 

1. PRACTICE BEFORE YOU HAVE A REAL VIRTUAL SESSION! You will be so glad you did.

    • Important: you can practice and be totally “ready” (mentally, technologically,) and things will STILL go wrong, (mostly technically, but those tech problems will make your audition nerves come roaring out of hiding.) Tech issues are simply the rules of the internet. Expect them.
    • Know that when these things go wrong, there are contingencies: maybe a phone call to talk notes before you self-tape, rescheduling your virtual appt on a different platform, etc. Don’t panic. You won’t lose the opportunity just because you’re having tech problems.

2. WIFI/INTERNET ISSUES ARE COMMON. Do yourself a favor and place yourself near your router (or plug in) for your virtual session. Test your internet speed in different areas of your home to see if there is an ideal location.

    • If you live with someone, kindly ask them to go for a walk or sit quietly and read a book while you are having your virtual session so you can have the full bandwidth. (If they’re scrolling through twitter or checking email it won’t hurt your speed too much, but if they’re watching Netflix or streaming videos, you’re screwed.)

3. PLACE YOUR COMPUTER OR TABLET AT EYE-LEVEL, WHETHER YOU ARE SITTING OR STANDING. I’d recommend using a computer or tablet for the session because the screen is bigger, making it easier for you to see the people with whom you’re speaking/reading. It can be harder to adjust the height of your larger devices so plan to not move it. Instead, you may need to adjust your energy, depending on the scene.

    • Remember: eye level device = fewer chins/nose hairs. (You can thank me later.)

4. CLEAN YOUR LENS BEFOREHAND! I know you’re all getting good at doing this on your phones before you self-tape, but make sure you do it on your computer. (That thing is DIR-TY.) Add streaming and layers of internet to that dirty lens and it is REAL hard to see you.

5. LIGHT: Our computer cameras aren’t as great as our phones. Use the lighting set up that you use for your self-tapes. It will help the camera eye open up more and give you a clearer/sharper look.

    • Ideally you do your virtual casting session in your self-tape space because it’s set-up with a plain BG, good light, quiet, etc. Just make sure the internet speed is up-to-par there. (See above.)

6. FRAME: Avoid the instinct to step back/away from your computer to give yourself more space. It’s already hard to see you with these computer cams, streaming issues, etc. Don’t make your face even tinier in the frame than necessary. Aim for the same frame as your self-tapes (about mid-bust or clavicle to just above your head.)

7. SOUND: Have your earbuds/AirPods handy. You may want to try doing your scene without them for the “look” but they may be the exact tool you need to mitigate the major sound issues (ambience, echo, low volume, etc.) Have them at arm’s length or just plan to use them.

    • Ambient noise exists and for the most part you can’t do anything about it. If your dog barks in the next room or an ambulance drives by or or or… it’s fine. Virtual casting will never be perfect (a lot of in-person audition scenarios aren’t perfect either, let’s be real.) As long as you’ve taken the precautions of tucking yourself into a quiet space, asking your partners/housemates/kids to keep their voices down, etc. then you’ve done the best you can. All good.

8. THERE’S INTERNET “ECHO” (hearing ourselves through your speakers, often fixed when you put on earbuds) AND ROOM ECHO. Room echo can be managed by surrounding your space with items that soak up sound (furniture, pillows, etc.)

9. EYELINE: Before you start, ask where they’d like your eyeline. Ideally you‘d look at the reader, but they may want you to look into or near the camera to better see you. Scoot your reader’s box to the top of your screen so they’re as close to the camera as possible. Win-win (hopefully.)

10. If the session is on Zoom, pin the reader and then go to your picture box, click the three dots in the upper-right hand corner and choose “HIDE SELF-VIEW” (You’re welcome.)

    • An excellent lo-fi solution if you are struggling to find that option is just to grab a little sticky note and put it up over your box so you aren’t watching yourself.

11. TURN NOTIFICATIONS OFF or put your devices on Do Not Disturb (airplane mode is ok but you have to turn your WiFi off on your phone otherwise it’ll still ring.) Those dings and rings that come in on your computer are UNBELIEVABLY loud on Zoom. Also, if you’re recording separately on your phone and a call comes in, it will stop the recording. (See #15 for more on this.)

12. EVERY VIDEO CONFERENCING PLATFORM IS DIFFERENT. Y’all know Zoom by now but have you tried Google Meetings, Microsoft Teams, WeAudition, WebEX, GoToMeeting, etc? If your virtual session is on a platform that’s new to you, make sure you check it out in advance… You might need to download an app or use a certain browser or create a free profile. Don’t discover these things a minute or two before your appointment time, (stress city!)

    • Every Zoom issue I’ve ever had was solely because I needed to update my app. Make sure you have the most current version of whichever system you’re using.

13. SIGN ON TO YOUR SESSION A FEW MINUTES EARLY. If we’re running ahead of schedule, we’ll be glad to see you pop into the waiting room. It also alleviates a LOT of stress on our end to see you in the virtual waiting room.

14. NO VIRTUAL BACKGROUNDS. (I bet you thought that goes without saying, but I’m going to leave it here as a reminder juuuuuust in case.) Fight the urge to pop one up. They’re unbelievably distracting.

15. SET A BACK-UP RECORDING. This is the best way to alleviate your Virtual Casting-related anxiety. Sh*t will unquestionably go wrong (on your end, on their end,) and there is no bigger bummer than thinking you may have had a really great take and the director saying “oh no! You froze there for a second!”

Do your heart a favor and place a phone or camera as close to your computer lens as possible (ie JUST behind the screen.) Start recording right before you start the session. You do not need to play/cheat to it or start/stop the recording. Let it run and end the recording once you hang up – it is simply a BACK-UP. Even if you never need the recording, you will feel so much less stress knowing you’re covered if they say “we think that was good, it was just really glitchy.”

    • If you forget to set a back-up recording and there’s some obvious glitchiness, plan to self-tape as soon as you can with the notes you were just given.

16. IF IT’S A CALLBACK, YOU MIGHT GET NOTES AHEAD OF TIME. OR NOT. Sometimes we say, “we’ll just chat/play when we get on.” Sometimes we just want to see you do it live and don’t have any specific notes.

    • If you’re getting a CB, it’s because we like what you did in your initial tape. If we want to run a take before giving notes, aim for what got you the callback. Doesn’t have to be exact, obviously. You’re not a robot. But those choices are a good jumping-off point.

17. BE FULLY IN YOUR BODY. Remember: even though we’re seeing you from the chest up, you should still feel your toes, breath should still come from your diaphragm, etc. If you’re in your head, we can see it, (always, but especially in self-tapes/virtual casting where the camera is close.)

 

And that, my friends, is the tip of the iceberg.

Virtual Casting WILL get easier. It’s new, it’s weird and the anxiety we feel around it is compounded with the stress we feel living in America in 2020. It’s a lot. But this situation is doable. And if a little effort and newness/weirdness means you can get back to set sooner, then we can all buck up and figure it out together.

Start here. And for the love of all things, START PRACTICING.

 

Pilot Season Anxiety: Where Are My Auditions??

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Pilot season is in full swing. You’re reading the trades every day, seeing what’s been picked up and drooling over the auditions that are surely coming your way ANY SECOND. Or maybe they’ll come tomorrow. Or you know, it’s Friday at 6pm, so they will probably call on Monday. Ok, it’s Monday at noon, and you’re refreshing your email every five seconds, waiting for word of an audition, ANY audition… WHERE ARE MY AUDITIONS?!?!

You get the picture.

It’s easy to go a little bananas during pilot season. You know that this is the time of year that auditions rain down like manna from heaven. And you hear about your fellow actors and how they’re getting three auditions per day, (and complaining about it, to be sure.) You also know that you’re good enough to compete against any of them, so why aren’t you getting out?

There could be a few reasons, but first, I guarantee that it’s not because your reps aren’t submitting or pitching you. They’re submitting and pitching their brains out. (Remember, if you don’t make money, they don’t. Pilot season is just as important for them as it is for you.) They often call and email to pitch, even when casting specifically tells them not to, (and at all hours of the day. All. Hours. Of. The. Day.) I promise you, they are trying their damnedest to get you an opportunity on as many pilots as possible.

So here are a few other road blocks that may be keeping you from getting a series regular audition:

1. Your materials just aren’t up to par: your reel is old and/or doesn’t show you off that well. You have 20 headshots up on your profile, and we can’t tell which of them are current, (and maybe none of them truly portray who you are.) Your website is impossible for us to navigate through to find what we need. You’re using a self-tape in place of a reel, and unfortunately, it’s just not compelling material. If we are unfamiliar with you and none of these things are working in your favor, the audition gods will not smile upon you.

2. Casting doesn’t think you’re right for the character or world: based on the breakdown, you believe that you are clearly SO RIGHT for this particular role, and somehow you still can’t get an audition. Remember, trust Casting. We know this project intimately. We are also serving this script, these producers’ collective vision, and this network’s commercial and artistic desires. We have a VERY good idea of who and what we need. We may adore you, but if you’re not right for whatever reason, we’re not going to waste your time or ours. (Mind you, things change quickly during pilot season. So while you could be “not right” on Monday, by Friday, you’re exactly what we need. Or vice versa. See #5 for more on this.)

3. Timing: your rep may have called and/or emailed to pitch you RIGHT when we got caught up in a session/conference call/meeting/bathroom break/other deadline, and their pitch got lost in an avalanche of message slips or a deluge of emails that we can’t bring ourselves to look at until the next morning, when inevitably, something else pulls our attention and another day goes by without us seeing their pitch. It’s not because we don’t like you or your rep, it’s because there are literally 8,000 other things that have to happen at that exact moment. (Don’t worry: your reps will continue to call and email until we look at their pitches.)

4. Timing again: we’ve actually already selected you as someone we want to read, but we can only see so many people in a day, and your appointment will go out when our uber talented, but overworked/underpaid staff can find a slot for you. Be patient.

5. Casting SAID they would read you, but the role you are most right for is being offered out/is changing/is no longer a regular: if an offer is out for a role, we try not to read people simultaneously (particularly if it looks like the offer person is engaging.) We will only audition that role if we are in a time crunch (or the offer person is unlikely to be interested,) and we need to have another great option. If a character is changing or sides are about to change or the prods have MENTIONED that they THINK they MIGHT want to change the character or sides, then we put a pause on that role and focus our attention on everything else. This will put people in a bit of limbo, but I promise that Casting is working their butts off to get clarity as quickly as possible. If a role changes from a regular to a guest star, then it’s priority is down graded. We will pick up reading people for it after some of our regs are set.

6. You think and feel that you are truly ready to be a series regular, but… : this may not be your year to book a pilot. Plain and simple.

Now, to overcome some of these things:

1. Don’t compare your career to anyone else’s, ever: everyone succeeds in different ways, at different times. When your friend (who is not unlike you, type-wise,) tells you about their 10 pilot auditions, do not assume you should have the same. You are unique people, individual actors with dissimilar backgrounds and likely different reps. You are apples and oranges. Take a breath and try to be excited for your friend.

2. Update your materials: it may be too late for this pilot season, but if your reps give you that feedback, make that your priority number one.

3. Practice patience: do yoga, meditate, breathe, nap. This is a life skill that most of us don’t have. Now is a good time to work on it.

4. Change your focus: sitting around, pining for an audition will almost never result in one. Get your butt to class, pick up that script you’ve been writing, read a book, take your dog for a walk. Do ANYTHING other than twiddling your thumbs, waiting for an audition notice to come in.

5. Remember that other projects are casting right now: there are a gazillion series still in production, movies, shorts, web series, theatre… make yourself (emotionally and physically) available to those projects. Booking them can be just as rewarding.

Focus on being a good, professional actor, and do everything in your power to achieve THAT goal. (Go to class, read, do theatre, etc.)

If you do, the auditions (and bookings) will come, guaranteed.

#SelfTapeTips – Part 8: How Do I Know I’m Making the Right Choices?

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One of the major complaints I hear regarding self-tapes, is that actors often feel like they’re acting in a vacuum.

Endless questions plague you…

  • “This character should clearly have a Southern accent, right?”
  • “Should I show the action in this scene? Do they want to see me fall?”
  • “This scene could totally be ironic and sarcastic, OR it could be heartfelt and genuine… should I do it the way it’s written, or the way I think it should be done?”
  • “The other character in this scene is obviously her brother… or is it her ex?”
  • “Why couldn’t they just have seen me in person?! I have so many questions!”

Well, you can calm your performance anxiety, friends. In terms of your character work and prep, self-tapes should be treated no differently than live auditions.

You can (and should!) use the following information to help inform your choices:

  1. The breakdown header: there is a wealth of information provided when you see who is involved in a particular project. (I ranted more about this topic in a previous post.) Header info is a great source when thinking of appropriate tonal choices.
  2. If you were given multiple scenes, each section will represent an important character aspect, trait or turn. We’re not giving you gobs of pages to test your memorization skills. Re-read the breakdown before you scan through your material, and look for different facets of the character in each scene.
  3. Any notes from Casting: if there’s a certain note that will undoubtedly be helpful to your taping process, we will provide it. (Why would we want you to audition without pertinent info? Who does that help?) If we want you to do an accent, or wear something specific, or treat the other character as your brother, even though he’s your ex, then we will tell you. If we don’t give you those kinds of notes, just use your instincts to make choices based on what you see on the page.
  4. When in doubt, use the material as your guide. Don’t assume that the stage direction or character description included therein is a ruse. This is not the SATs; the writer is not trying to trick you.

If ultimately, you STILL feel you are missing information that would truly affect your performance, then don’t be afraid to ask! You can have your reps reach out to Casting with your questions, (or you can have them ask if it’s ok for you to call directly.) The Casting team may not realize that there is something vague about the material. Again, we will never PURPOSELY leave out information that would have a significant impact on your choices.

So in lieu of over-thinking or stewing about having to do this on your own, remember to trust your instincts (and the writers/Casting team,) trust your script analysis skills, and prepare your self-tape scenes the same way you would any other audition piece.

#SelfTapeTips: Part 7 – The Biggest Hurdle

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I asked my actor friends what they felt was the biggest hurdle when self-taping, and this was the number one response: finding a reader.

As we all know, a good reader can make a HUGE difference in your performance. They can work with your timing, give you something to help provoke honest emotional beats, and they can take direction if you need them to tone it down or amp it up. (The reverse of this, of course, is that a terrible reader can’t do any of these things and your performance suffers because you are either a. compensating or b. allowing their energy, whatever it may be, to affect your performance.)

Here are some tips, listed from BEST TO WORST case scenario, for dealing with this particular issue:

1. Find an actor pal to read with you. (Duh.) In fact, do yourself a favor and have a “self-taping group” of actor pals, so you aren’t stuck if your person isn’t available to help out.

  • One caveat here: don’t let your actor pals over-direct you. The nice thing about having an actor opposite you is that they can provide you with some real perspective. But at the end of the day, it is YOUR audition. Take their feedback, but YOU need to decide whether or not to incorporate their notes.

2. If you can’t get anyone there in person, get one of your actor pals on Skype or FaceTime. Even if there’s a tiny internet lag, you’ll still have someone you can connect with, and who will bring out the best in your performance.

3. Find an able-bodied, non-actor to whom you can give a little direction. Maybe your neighbor is a writer who understands timing or perhaps your roommate did theatre in high school… as long as they can follow the dialogue and take feedback from you, they’ll more than suffice. (Hot tip: summarize the scene, and then give them a few minutes to look it over so they aren’t reading it totally cold.)

  • What you don’t want in a non-actor is someone who has an overly thick accent/doesn’t really understand what they’re saying, can’t pace it up/slow it down, or is a child (unless the scene is written between your character and a kid.)

4. Use one of those rehearsal apps. This is a worst case scenario because they eliminate the possibility of spontaneity, and they tend to make your beats either rushed or overly drawn out. These apps are terrific for REHEARSING/LEARNING your lines, not performing the scene. Use these as an absolute last resort.

And the I-HAVE-TO-MENTION-IT-BUT-PLEASE-FOR-THE-LOVE-OF-MIKE-DON’T-EVER-DO-THIS:

5. Don’t read with anyone. If you just say your lines and pause in silence when the other dialogue is supposed to be read, that’s not a performance. That is just saying/reading lines. This will never make a successful audition. Ever. Seriously. The best thing that could possibly come from a read like this, is that you hear from casting that we want you to do it again, but this time with a reader. But it’s more likely that we won’t be able to see enough of a performance to request another take.

So, no matter where you live, create your self-tape group of friends. And don’t forget to give what you want to get back: be as ready/willing/able to be another actor’s reader as your pals are to be yours.

Auditions: No Excuses

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Auditions: When Excuses Take Over Your Read…

  • “I just got the material.”
  • “My reps didn’t send me the full script.”
  • “I have three auditions today, so I’m not off-book.”
  • “Normally I coach, but this appointment was too last minute, so…”
  • “I was camping and didn’t have internet, so I just looked at this for the first time this morning. What exactly is this project, anyway?”

Casting Directors have heard every excuse imaginable when it comes to why an actor isn’t prepared for their audition. Actors will use it to preface what we are about to see, which makes us assume a combination of the following:

  • “This read will be subpar.”
  • “I’m going to have to give them a crapload of backstory before we can even start.”
  • “I will likely not get them to the performance I want, no matter what, since they don’t know the lines well enough.”
  • “This will likely be a waste of both of our time.”

When you start your read with an excuse, not only are you putting the CD on edge, but you’re also saying to yourself, “This isn’t going to be very good.”

Truthfully, we KNOW that there are extenuating circumstances as to why you may not be FULLY prepared for this read. We know you’re human beings, with lives and families and jobs/classes/auditions.

We also know when your appointment went out, so unless we sent you that audition within the last 12 hours (or less,) we DO expect you to have figured out a way to become prepared. And if it was so utterly impossible to do so, did your reps try to move your appointment? (Sometimes we can’t allow you to change your day/time, but we are always aware of when the request has come in… or if it hasn’t.)

On the reverse, when we knowingly give an actor very little time to prepare and they come in, bounding with energy and ready to play without a word of how much time they had with the sides, we are utterly delighted. Inevitably, those actors will get the callbacks/jobs, even if they’re up against people who have twice the resume. They come in open-minded, ready to do the best they absolutely can without fear or hesitation, and guess what… IT WORKS.

So the next time you’re sensing the urge to preface your read with an excuse, curb the feeling… trust Casting to guide you, and focus on being there in the moment, listening and having fun.

Auditions: Erica’s #1 Pet Peeve

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“What’s your biggest pet peeve?”

I’ve been asked this question HUNDREDS of times. Every Casting Director you meet will likely have a unique answer. For me, the worst thing an actor can do is come in unprepared.

Let me clarify:

I’m not speaking to your memorization skills. Do I want you to be off-book so we can really play? Absolutely. But being prepared goes far deeper than that:

1. If you received a full script, did you read it? Scripts are rarely distributed these days, since everything tends to end up on the internet. If we are lucky enough to send you a script we expect you to read it. A full script gives you total context; it’s a literal gift. But often, actors feel too rushed to read/skim a script AND learn their lines. Do your best. It will help you IMMENSELY.

2. If there are words or names in your sides that you are unfamiliar with, did you look them up? (How to pronounce them as well as what they mean in that context?) If you don’t know what you’re saying, how will we believe that you are that character? If you’re supposed to be an expert medical examiner and you mispronounce “carotid”, it will quickly take us out of the moment and remind us that you are an actor. Could we just correct you and have you do it again? Sure. But we’d rather you do your homework, because if we correct an actor in the audition room, it often makes them freeze up a bit and inevitably, they’ll mispronounce the word again anyway.

  • Side Story: We once cast a pilot where we needed a “techie.” The sides these women had to read included the phrase “coax cable”. Inevitably, half the women pronounced it “coax” (as in “persuade”,) as opposed to “co-ax” (as in “coaxial cable,” which is a tool that a “techie” might use.) If they missed that one line, it immediately took us out of the moment.

3. Did you look to see who was involved in the project? When you receive your appt. information, you usually receive the breakdown as well. The top portion of the breakdown holds a WEALTH of information. Such as:

  • What type of project is it? (Pilot, Feature, 1/2 hour, sitcom, single-cam, etc.)
  • Who are the prods, director and casting team?
  • Is anyone already cast?
  • Which studio/network is it for?
  • A brief synopsis of the story

If you don’t know who someone is, look them up! Do a search for the project in the trades to learn a little more about its evolution. Would you go in to interview at Google without looking to see with whom you were meeting, what kind of resume they had and what you could bring to their team? The breakdown header could help you understand the tone of the project, as well as being aware of for whom you might be reading.

  • Side Story: We once cast a pilot with a VERY well-known director who liked to be in the room for auditions. For some reason, perhaps because they were so focused on learning the material, many actors didn’t realize he would be in the room, (despite his name being on the breakdown/in the trades and us putting a sign in the lobby, saying who they would be reading for.) We’d walk the actors in to the audition room and they’d freeze when they saw the director – not exactly a wonderful way to buck the audition nerves. Eventually, he ended up sitting out of auditions and just watching everything on tape because he was concerned about how distracting his presence was.

4. Did you look to see if we’re ONLY reading certain scenes? Oftentimes, we will give out more scenes than we know we want to read, mostly because it provides context. If we know ahead of time that we only want to read specific scenes/pages, we will tell you every way we can:

  • We’ll write it on the sides
  • We’ll put it in the audition notification
  • We’ll put a sign in the lobby
  • We’ll tell you when you walk in the room

I can’t even begin to count the number of times I’ve reminded an actor that we’re ONLY doing scenes 1 and 3, and they look at me like I’ve run over their dog, or they give me the, “oh really? But scene 2 is so great! I’d love to try it anyway…” (The answer to that is almost always no. Save your energy.) Pay attention to that stuff so that you aren’t wasting time rehearsing a scene that we aren’t going to run.

We realize that sometimes we do this to you at the last minute – we’re not trying to torture you by taking away a scene right as you walk in the door. There’s always a good reason for it, so try to not let it frustrate you.

So by all means, study your sides, but also arm yourself with knowledge about the project and creative team involved. It is the quickest way to up your confidence before you walk in the door.

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