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Self-Tape

Five Common Self-Tape Mistakes (and how to fix them!)

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Hey Actors! When it comes to self-tapes, these are some of the more common issues we see, (and how you can avoid them!):

#1: EYE LINE

It’s easy to overthink where you should be looking when creating self-tapes of car scenes or working on a scene with multiple characters, but the easiest solution is to keep it simple. We (and the camera) need to see your face. You can acknowledge the entrance of another character by looking slightly off camera/to the opposite side of the camera, and then bring your eye line back to the reader. For car scenes, keep your face forward and engage with the reader in the moments when you feel you would’ve turned sideways to look at them. If you’re not looking at/engaging with your reader, your performance will start to feel one-sided. Always bring your eye line back to the person who is in the room with you.

#2: FANCY EDITING TRICKS

Title cards, cross fades, fade in/out, 4K are all not necessary. Casting Directors don’t use them… you don’t have to either. If we need to edit your tape, those fancy-looking tools can make it difficult for us to find a clean cut. They also add to your file size (significantly.) If you’re wondering why it takes forever to upload your tape, this could be why. Keep it simple with hard cuts and a slate instead of a title card.

#3: FLAT ENERGY

“Doing less” because the proximity of the camera makes you feel like you can be small is a trap into which MOST actors fall. However, your energy will come across as completely flat if you’re not projecting it past that device to your reader. If there is an energetic void between you and your reader, we will sense it in your self-tape.

#4: SPENDING OODLES OF TIME ON A SELF-TAPE

If you’ve done your prep and are as ready to audition as you would be if you went in for a live read, then your self-tape shouldn’t take long. Do not do more than three takes before you watch it back to see if you have it. (You probably do.) If nothing else, you will be able to see EXACTLY what you’re aiming for in the 4th Any more than that, the performance will start to dissolve. If you spend hours on your self-tape, you’ll either end up sending one of your very first takes or you will send a take where we can see your choices coming a mile away. (Also: preserve your relationship with your reader and be efficient with your time.)

#5: IGNORING DIRECTIONS FROM CASTING

This. Happens. CONSTANTLY. Be one of the actors we admire for their professionalism and follow directions, (and for the love of all that is holy, adhere to deadlines!) Also, we put important performance notes in our self-tape requests. Look there before you read through your sides for extra context and notes.

 

All of these things are easy traps to fall into because of timing, technical issues, trying to “stand out”… but when it comes to self-tapes, all Casting wants is for them to look like an audition that took place in our office.

Keep things simple, focus on your prep and read the notes from Casting.

Pilot Season Anxiety - Where are my auditions?

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.

Self-Tape Tips Part 8 - Am I Making the Right Choices?

Self-Tape Tips Part 8: Am I 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?”
  • “How far should I go with movement/props/wardrobe?”
  • “The other character in this scene is obviously her brother… or is it her ex?”
  • “If I turn my phone vertically for the slate, will I be disqualified?”
  • “Why couldn’t they just have seen me in person?! I have so many questions!”

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.
  5. Remember that we are hiring you as an ACTOR. Not as an editor, a cinematographer, a HMU artist, a set decorator, a stunt performer, etc. Make smart, simple choices on those things and let the focus be on YOU and YOUR PERFORMANCE.

And please hear my endless drumbeat on slates:

YOUR SLATE IS FOR INFORMATION. Stop stressing about it. The information is hugely helpful to us, but it is not a performance and we are not looking for it to look beautiful. Info = important; your messy house = not.

If ultimately you STILL feel concerned or in the dark about something, 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/email 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.

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.

Self-Tape Tips Part 7 - Finding a Reader

Self-Tape Tips Part 7: Finding a Reader

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I asked my actor friends what they felt was the biggest hurdle when self-taping, and the number one response was this…

Finding a reader.

And while finding a reader for your self-tape can be frustrating, it can also be a major benefit of self-taping. You can choose someone who will give you something, whether it be chemistry, timing, direct-ability or just flexibility… when you walk into a Casting office, your reader is your reader and they are often 1. not actors and 2. cranky about getting direction from you.

Here are some tips to help you get over the reader hurdle (listed from best option to least favorable): 

1. Find an actor pal to read with you. (Obviously.) In fact, do yourself a favor and have a “self-taping group” of actor pals. This way, you aren’t stuck if your usual reader isn’t available to help out. Find your tribe, start a group text chain and use each other, as needed.

  • 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. Listen their feedback, but YOU need to decide whether or not to incorporate their notes.

2. If you can’t get a reader in person, use Skype, FaceTime, Zoom, etc. Even if there’s a slight internet lag, you’ll have someone with whom you can connect. Don’t worry about the slightly tinny/mechanical quality of their voice. It’s not ideal, but in 2020, we’re all very used to the sound.

3. Find an able-bodied non-actor who can take some direction. Maybe your neighbor is a writer who understands timing or perhaps your roommate did theatre in high school, or your mom is an avid reader… as long as they can follow the dialogue and incorporate 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 a rehearsal app to “read with yourself.” This is a worst case scenario because it eliminates the possibility of spontaneity. The forced/planned timing involved in using these apps 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.

Creating your “self-tape tribe” is the key to finding a reader. 

Whether your group consists of friends or coaches or family members… or all of the above… having a go-to list will relieve the anxiety around finding a reader when you’re on a tight deadline.

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.

Self-Tape Tips Part 6 - Unsolicited Self-Tapes

Self-Tape Tips Part 6: Unsolicited Tapes

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Casting Directors don’t love receiving unsolicited self-tapes.

My first instinct when I receive an unsolicited self-tape is to sigh and shake my head in frustration. I value an actor’s time and effort, ESPECIALLY the effort involved in self-taping. And to receive a tape from someone who is often not right, (which is why I didn’t request them in the first place,) bums me out HARD.

Here are a few ways an unsolicited self-tape could backfire:

  1. The material is super secret. Anyone who reads has to sign an NDA and have watermarked sides. Therefore if you just get a copy of the material and send in an unrequested tape, we’re wondering who the schmuck was who broke the rules… another actor? A coach? An agent? Hard for us to appreciate your read if we have to figure out how wide-spread the leak is.
  2. While YOU might think you are absolutely PERFECT for a role… that may not actually be the case. Either we had to leave something out of the breakdown description (due to secrecy) that makes you not quite right, or the role has evolved and the characteristics you think you fit, no longer apply.
  3. The role might already be cast. Or worse, it’s been cut.
  4. You miss out on critical information, such as: when we need your tape, backstory information, which scenes to read, whether or not an accent is needed, any direction, etc. When we request self-tapes, we give out a lot of intel. Without that, you’re kind of shooting in the dark.
  5. If we’re not expecting it, it could easily get buried in our emails and never opened. Truthfully, Casting will PROBABLY watch any tape that comes in, whether or not we asked for it. But you will be much more set up for success if the request originates from us.

Actors will get material from their reps, from a class, from a coach, from a friend who urges them to tape even though Casting hasn’t requested them. Your best course of action when this happens is to have your reps ask Casting if it’s ok for you to tape. If we think it’ll be a waste of your time, we’ll say so. If we’re open to it, we’ll say yes and give you ALL of the information you need. Win-win.

Think of it this way: Casting would be incredibly annoyed and/or turn you away if you crashed one of their live auditions. However, if we’ve invited you to our session, we’re looking forward to your read.

Treat self-taping the way you would an in-person appointment.

Show up when asked.

Self-Tape Tips - Choosing which and how many takes to send

Self-Tape Tips Part 5: Which Takes Should I Send?

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Arguably, one of the most difficult parts of self-taping is choosing which take(s) to send to Casting.

Which is the best take? Should I send more than one to show my range? This one has a great beginning but this one has a great moment in the middle, and this one shows I can do an accent but I don’t flub the line in this take, and and and…

You have my sympathy on this. Trying to be objective when you’re staring at yourself on video is neither easy nor pleasant.

There is no science to this, I’m afraid. I can’t give you a fail-proof method to guide you. BUT! There are ways to make the process easier for yourself.

Here are some do’s and don’t’s to assist you in choosing a take:

DO as much character prep as you can before you ever step foot in front of a camera. That way, you’ll know what you’re aiming to accomplish.

DO NOT “work it out” in front of the camera. This is the equivalent to throwing sh*t at the wall and seeing what sticks. You’ll be there forever and end up with too many options. (And you’ll have a very cranky reader.)

DO limit the number of takes you do. I like to say no more than three takes before you watch those to see if you got it (you probably did) or if there’s something missing.

DO NOT stop yourself if you’re really vibing at the end of a take. Start again immediately without futzing with your camera.

DO listen to your body. When things go really right, you FEEL it. Trust that instinct.

DO NOT let your reader/coach/taper pressure you when to stop, when to do another take, or which takes to send. This is YOUR audition. You know this character better than they do. Listen to their feedback and reasoning, but the decision is ultimately yours.

DO trust that you can get it done in one or two takes! You do it ALL THE TIME in live auditions. You can do it for your self-tapes, too. Prep the same way you would if you were going in the room and you’ll get it done quicker and with more clarity.

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Ok! Now, you’ve got a take that is really great. But there’s another take that’s pretty good, and another that’s pretty different and shows some range, so…

Should you send more than one take??

You have to follow your gut on this one. If you have a take that you feel great about, given your performance and everything you know about the project/tone/character, then that’s absolutely the one to send.

If you are thinking about sending a second take, consider these questions:

  1. Does it still fit the tone of the piece? The biggest issue we see when actors send a second “different” take is that one take fits what we’re looking for and the second take might as well be for a different project, because the energy is just TOOMUCH. If you’re TRYING to do something different, you’re schmacting. And we can see it from a mile away.
  2. Have you made choices that are different and interesting but still truthful and that fit within the world? Oftentimes, the second take is a near carbon-copy of the first. To help guide you, think about the things you CAN change vs. the things you CANNOT.
  3. Is an accent, wardrobe piece or a prop the only thing that’s different? If that’s the only change, we don’t need that take unless we specifically ask for it, which leads me to…

A few reasons Casting may ask you to send multiple takes:

  1. It’s a small/short scene and we’d like to see what you provide some options on the character/moment.
  2. Accents. We’d like to see a take WITH an accent and WITHOUT an accent.
  3. We don’t have the benefit of time, so we’d like you to do the scene with two different sets of directions (as opposed to having you adjust and re-tape later.)

Remember: if you only send one take and Casting wants to see you do something else, we can always ask you to re-tape (pending time.)

We don’t envy you having to make these selects. It’s not easy. But if you’ve done your homework, grounded yourself in the truth of the moment/character and trusted your instincts, you will make the take-choosing process easier.