When you are choosing scenes for your showreel, pick recent material you’ve filmed that best showcases your work. Your scenes should focus on you (rather than the show/movie they’re from) and speak to your range. Choose diverse scenes that showcase your work across different styles or genres, and keep them as short as possible. 

Before we dive in, remember that showreels are insanely personal things. At least, they should be, if they’re going to showcase you as an actor in a way that separates you from the pack. So please absorb all the advice you can from this article, but remember that your showreel will always be different from other actors you know. Find what works for you, not what somebody tells you is best. Even us! Although we hope you’ll take at least some of what we have to say on board…

How Many Scenes Should I Put in my Showreel?

Three. Ideally. You want three, short scenes that contrast—and yet never overstay their welcome. However, if you only have two scenes you’re happy with, there’s no unwritten rule saying that you must include a third. Even one, good scene is better than a handful of weak ones.

Some actors opt for more scenes, sacrificing the length of individual clips to pack in more varied content. This can feel exciting, and like you’re getting more material seen! But more likely, the resulting work will flash past without making any lasting impression about your acting on your viewers.

Your viewer needs a time to absorb and process your work—and that’s your acting work, not the cool jobs you’ve done.

What Kinds of Scenes Should I Include?

Ooft. Big question. This is often where those showreel-delaying actors get stuck. Let’s look at a few pointers that might help guide you through

• Short scenes. 45 – 60 seconds is the sweet spot. Anything over a minute better be The Most Gripping Drama Ever. But ideally your scenes will flit effortlessly across the screen with some impact. Too long, and you risk boring your audience—who may switch off all together!
• Scenes that showcase you. This should be the key deciding factor in scenes for your showreel. A bit part you shot in House of the Dragon might be an impressive credit. However, if it’s you being eaten by a dragon within ten seconds of appearing on screen, it’s not really giving potential employers/representation an idea of what you can do. Less impressive projects that foreground you are far more desirable as showreel material.
• Recent work. No matter how proud you are of that indie feature you starred in straight out of drama school, it’s no good including unless you look exactly the same—no. Are exactly the same. Don’t shock casting directors by sending them your reel and then appearing in person twenty years older. 
• Material that you’re proud of. We’ve mentioned this already, because it’s one of the defining factors for a good showreel. Show work you know is good, you know you’d be happy with people seeing.
• Scenes with some variation. If you have three great villainous scenes, pick one. Your scenes should show your range, not put you into a single typecast box. Even if this the ideal role you want to pursue: don’t cut yourself out of other work as you try to land that dream role!

Note that we haven’t even talked about what makes a good showreel scene. That’s a whole other discussion, and something we explore elsewhere on the site. But to recap quickly: look for strong characters with an arc to match, a clear objective and strong dialogue!

An Example of the Perfect Showreel

As an exercise, visualise your perfect showreel: sit in your home, stare at a blank wall and imagine it playing in front of you. Money, resources, material were no obstacle. How does it look? It might be a little something like this…

“My showreel begins with a slate: name and agency in white font on a black background. This fades down before my first scene: a clip from a student film I shot recently—a 45 second clip showcasing my comedy skills, with plenty of banter and strong dialogue. It’s not the whole scene, but it cuts at a point in the scene that is punch, and fades to black.

Next is something I did for a streaming series last year. It’s a small scene that took me a night to film, but it’s nice character work and contrasts with the comedy. It also shows that I’ve done something on a larger scale, but without me being lost in the background. That goes for about a minute, it’s my longest clip, but also fades to black just as we start getting into the second half of the scene.

Finally, my latest work. It’s actually something I shot with the help of a StageMilk coach, from a script I found through my membership. Unlike the others, it’s only a self-tape I shot in my house, so there’s no fancy production value, but I look good in it. And it is exactly the kind of role I want to be cast in. It’s forty seconds long. Punchy, a bit exciting. It leaves the audience with a bit of a rush.

One final, identical slate before a final fade to black.”

Do Scenes for your Showreel Need to be Professionally Shot?

Scenes for your showreel don’t need to be professionally shot, but they should be professional in tone and presentation.

Professional screen work is ideal, but so is a well-lit and graded student film. If your home studio set-up is whizz-bang enough, something you’ve shot there could be a great showcase of your acting! At the very least, a self-tape you’ve shot at home has no pretensions about looking like professional work; it actually showcases your acting in its most distilled form. Just shoot for quality, and never settle for bad audio.

If you are feeling particularly creative and industrious, you can even try shooting a scene for your showreel like a short film! It is a lot lot lot of work, but does give you an incredible amount of creative freedom and control over quality and product.

Can I use Monologues in my Showreel?

Using monologues as scenes for your showreel is a contested subject. Many say no, as they don’t allow potential employers to see how you work with others. At StageMilk, we’re more lenient: we say yes, if they showcase your work. But often, a perfect, short monologue is hard to come across that has the same impact you might get from a scene of similar length.

And why is this? Because scenes show you in the thick of human interaction. They are a moment of conflict with a character’s goal in mind, swapping actions as you tack your way through the scene.

Can I Make Multiple Showreels?

Yes you can! There was a dark time when such things were merely folly… But in the age of online casting profiles like Showcast or StarNow, there’s nothing stopping you from having multiple showreels to suit different castings and situations.

You’re likely to still have a primary showreel that you send out to potential employers or agents, but you could also have showreels for different genres, media (such as theatre, or presenting work) or accents. Just be sure that each showreel adheres to the above rules and adheres to a similar, professional quality.

Feedback and Revision

The other advantage of having access to your showreel on casting profiles is that you have the opportunity to revise your showreel/s as new material comes in. If you’ve filmed a new, exciting short film and think its opening would be a perfect, punchy showreel clip, crack your current reel open! Is it stronger than any of the material you’re currently using? Swap it out!

As you are compiling a showreel, get as much varied feedback as you can. Friends, colleagues, your agent or manager, even us good folk at StageMilk! As part of our Scene Club, you can send through your showreel for some honest, one-on-one expert advice.

Other Showreel Resources

At StageMilk, we place a lot of emphasis on showreel and self-tape literacy; after all, they are two vital skills for modern actors to use to promote themselves. For this reason, we’ve written a lot on the subject of showreels, and have listed a few important resources below:

• Ultimate Showreel Guide
• What Makes a Good Showreel Scene
• How To Make a Good Showreel
• How to Find Showreel Scripts
• Do I Need a Showreel?
• Does Your Showreel Suck?
• How to Cut Down a Monologue or Scene

And finally, our practice monologues and scenes for actors: original material that may come in handy for your showreel!

The Perfect Scene for your Showreel Doesn’t Exist

So there you have it: all the wisdom we have to share on choosing scenes for your showreel. It’s a lot to take in, we know. But actors who spend time crafting showreels with considered, curated scenes always distinguish themselves in the industry.

One final point. It sounds tough, but be assured we mean it as a strange kind of comfort: the perfect scene for your showreel doesn’t exist. Stop dreaming about it, stop imagining it out there, waiting to be found and loved and performed. Even a dull showreel scene is better than one you never bothered to find or shoot. So start yourself somewhere: stop delaying and start planning.

Good luck!

The post What Scenes to Put on your Showreel appeared first on StageMilk.

As an actor, it’s important to learn how to cut down a monologue or scene. You might want to make the perfect script work for an audition, or perhaps shave crucial seconds off a potential showreel piece. When making cuts, always ensure the intention of the scene is still apparent, the character’s voice is clear and that you’ve not lost the ‘spirit’ of the writing.

Sounds easy enough, right? It’s not like their your darlings that you’re killing… But actors come to me with questions on cutting down scripts all the time; there’s always a genuine fear that you might cut the ‘wrong’ bit or it will lose what they loved about it in the first place. So this article will give you a few pointers, and even take you through a couple of examples.

Why Cut Down a Monologue or Scene?

In short? Length. The length of a monologue or scene is always going to be an enemy of the actor, especially in an audition context. They battle the schedule, or short attention span of potential agents and collaborators, or the casting agent with another 139 people to look at (who all, scarily, look and sound exactly like you.)

Beyond the purely logical aspects, a longer scene often robs the material of its punch when not contextualised by the larger story. What might feel like a breathless, engaging monologue within a three hour film might suddenly drag without the action around it.

And this is especially important within the context of your showreel (or demo reel.) Showreel scenes need to get to the point, showcase you (not your scene partner) and end someplace quick and coherent. Just like acting for a self-tape, showreel scenes are sort of like their very own genre.

What to Cut:

Cutting material down from a monologue or scene is always a subjective process. There is no right or wrong way to do it, but there are some considerations you can take into account to make the process easier. We’ll talk over a few key basics below:

• Repetition. Do characters have a few quippy backs-and-forths before the scene gets going? There might be a repeated catchphrase, or somebody says something over and over to their scene partner for dramatic or comic effect. Banter is always fun … but do you need it?
• Padding. Can you identify any unnecessary lines/exchanges in between bigger moments? These are some of the most expendable parts of a scene, and you’ll find them peppered throughout even the best-written material.
• Long speeches. Examine chunks of text in the scene. Do they add to the story? Or do they rob the scene of its urgency? You might be able to get away with one speech that features you, but this needs to be earned by the larger drama of the scene’s context. Can you get away with cutting some of the speech and not all of it?
• Backstory! We will assume you’ve gone through your script analysis process, and you have a clear idea of your character’s journey, objective and the given circumstances of the larger story. But if you’re making cuts, consider material that references other scenes. Remember that your audience isn’t the expert on this scene you are. Try without and see if it still works.
• A weak beginning/ending. Do your characters ask each other how their morning was before they start to discuss a planned robbery? Does one character flare up at the other and then spend a minute comforting post-climax? Don’t settle for weak or meandering beginnings and exits. They might feel natural … but that’s not the ball game right now. Start the scene where it gets good, and get out after the good bit!
• Action. Consider making cuts to physical actions characters perform. Toasting drinks, lighting cigarettes, standing up and sitting down. All of these actions can waste valuable time

Final note:

Above all, keep the scene ‘present’. It needs to speak to its own here and now, and not set something else up or pay off in a later reveal—something that we’re never going to see. Let it stand on its own, and focus on the individual wants and objectives of the characters. That is where the drama of the moment comes from.

Case Study: “Wendy & Sam”

Let’s look at a scene for some examples of the above cutting suggestions. We’ll upload the original, untouched version, so you can have a go at making your own cuts:

Note that if you followed every direction in the above script, there’d probably only be a few lines left! So do exercise some restraint. And, as soon as you can, read through the scene with a fellow actor and for an audience unaware of the original material. You may even find yourself putting bits back in.

When can I Add to a Monologue or Scene?

Ooft. This is a tricky one. Unless it’s an audition side you’ve been sent—in which case the answer is “Add as much as you don’t want to get the job!”—there isn’t technically anything wrong with adding a word here or there. But I’d strongly recommend against it. ’cause where does it end?

There are plenty of reasons you might add something to a scene: to speak to the wider context, to a character quirk the audience might find entertaining. It might have something to do with an earlier scene that gives this monologue dramatic irony. Or maybe you think the character comes off in a bad light in this particular moment and you want to take something from later in the story when they become more sympathetic.

However, none of this is what the writer intended. At no point, in all their years of working on this story, did they ever think your addition needed to be there. If it did, they’d have written it already. This is why additions are bad news. Cutting a script might feel like you’re disrespecting the writer, but at least you’re not diluting their words with your own.

Making Changes

Making changes to a script isn’t quite as blasphemous as adding things. That said, it’s still important to be careful and to do so with good reason. Changing the pronouns of a character to suit you, and perhaps a name or two in the same vein, isn’t much of a problem. In fact, many of the scenes on StageMilk’s very own practice scripts for actors and practice monologues for actors are gender neutral to circumvent this need entirely.

However, changing a character’s job description, or the way they they communicate in the scene, can modify things greatly. Script analysis tells us that every word on the page, every punctuation mark, is worth interrogation. So chances are, if you’re changing things, you’re as good as weakening the script—even with the best intentions.

Ultimately, the situation dictates. If a few small modifications are going to help you better connect with the material, go for it. But the best piece of advice is to avoid adding to the material: make what’s already there work. As an actor, it’s sort of your entire job.

Can I Write my own Monologue or Scene?

Hells yeah you can! If all else fails with your editing efforts—if you’re making more cuts than Sweeney Todd and adding more lines than the original author—writing something original is always an option. We talk about writing for yourself a lot on StageMilk, as we think having a writer’s perspective as an actor is an invaluable skill set. So we’ll leave a few good resources below for you to peruse if you’re thinking of sitting at a typewriter and bleeding:

• How to Write a Vehicle for Yourself
• How to Write a Cabaret
• How to Write a Monologue
• How to Write a Short Film
• How to Write your First Screenplay
• And How to Tell your Friend their Script is Terrible (if you’re feeling brave.)

Conclusion

Let me leave you with this thought: it’s not strictly ‘cutting’ that you’re doing to a script. It’s editing. Any writer will tell you that editing—while tough at the best of times—is no less part of the creative process. Quite often, it’s the time when the piece finally comes together and becomes its best version. So when you go to cut down a monologue or scene, remember to respect the text: respect its ‘spirit’ and meaning. If you do that, you’re sure to keep the good stuff every time.

Good luck!

The post How to Cut Down a Monologue or Scene appeared first on StageMilk.

By showreel scene, I mean a self-produced proof of your acting. It is a filmed work that you have chosen and either shot in a self-taped/audition style or a simple setup that demonstrates your ability to perform a scene. It may be a stand alone scene or used as part of a small collection of works. Whilst it can be new writing, more often it is a scene from an existing movie or show. 

Most everyone, including myself, has had – or will have – the agonising process of trawling through scenes, looking for “the one”. Although the search may be arduous, what is more frustrating is thinking you’ve found gold and then being told its trash. I hope with this article I can help you identify why this might occur. 

When you see a good showreel scene of a colleague or classmate, you know it, but it can be hard to pinpoint why its good. Don’t worry, I am here to help. So, if you’ve been on the hunt and want help narrowing it down, or you want to find out what the ingredients of a great showreel scene are, read on. 

Know Your Type – Play to Your Strength

We often forget this, but what makes a great showreel scene, is one that suits, and showcases the actor doing it. 

When I was picking my first showreel scene, I had no idea who I was. That is not meant to be existential, I was comfortable with who I was, but I had no idea how I would sell myself. It sounds crude, but really that is what I am offering – me and my talent – and I wasn’t sure where ‘me’ fit into the spectrum of characters that appear in our stories. 

Although as actors we like to think we can play everything, we probably won’t get a chance to. That’s the reality. We all have a type. I should clarify that I am not talking about race and gender here. What I am talking about is our mode of being. The energy we naturally exude and feel most comfortable in. Some of us are naturally more reserved or romantic, aggressive or sombre, serious or jolly, amicable or standoffish. Although it’s possible to play beyond that, it is undeniable that actors excel in certain types of roles that suit them.  

A small anecdote from the vault: Early on in my acting, I found a scene from Vickie Christina Barcelona that I thought could be a potential showreel scene for myself. It was fun, playful and I thought it had a great arch. I watched the scene and it flowed fantastically. I brought it to class, expecting a good response. Then a class mate said, “I mean, it’s a good scene… but you’re not Javier Bardem.” Although bruising to the ego of a young man in his early 20s, my classmate was right. It was a good scene, but I am no romantic lead, and although the scene was good, I was totally wrong for it. 

Finding where you fit is a tricky thing to nail down and unfortunately you are the worst judge of who you are. I have seen a lot of actors try and fail to force themselves into the type they think they are or want to be. As soon as they let that go and be themselves, that is when the jobs start happening.

So, ask. Ask directors, agents, teachers or classmates (not parents or close friends, they are bias). Pay attention to what scenes you keep getting given, in class or castings. Find where you fit, where you are most cast-able and then lean into it. If your naturally boisterous and comedy is your strength, don’t put down a quiet tragic scene as your first showreel to test your range. Show them what you’re good at!

After you have put your best foot forwards, then you can start adding some variety. However, if you find the right scene, it should have plenty of opportunity to showcase your acting. 

Check out this article more information about knowing your ‘actor type’ or typecast.

How Long Should a Showreel Scene Be?

The length of the scene is a matter of who you ask. Different people have different preferences and trends change all the time. You need it short enough that it doesn’t get boring, but long enough that something happens. Time for the character you’re playing to be changed, but not too long that the audience gets ahead of you. 

I like to think in terms of pages. For me, a good show reel scene is 2-3 pages of film script. It’s a nice chunk of action, has 3-7 beats, and enough happens in it for the characters to be different at the end of the scene than they were at the beginning. Any more than that, and we are getting into short film length, and casting directors will rarely get to the end of it. Any less, and there is very little chance to show you reacting to anything. 

What Can I Do to Make My Showreel Scene Good?

I am going to offer a couple of random philosophies I have picked up which I always use when working with students on any scene work, that also apply to showreel scenes. 

#1 Chicken Roll Theory

This is a strange one, but bear with me. 

If you take your first bite out of a chicken roll, and its mostly bread and mayo, your first thought is “there is not enough chicken in this chicken roll”. No matter how much chicken is in the rest of the roll, your first thought is that it is lacking. 

Same applies to the end. If the final bite is just bread and mayo, no matter how much chicken was in the middle of the roll, you are left feeling that there should have been more. 

So what does this mean? The opening and closing of the scene need to have an impact. Really good showreel scenes start and end super strong. This doesn’t mean the middle can sag, far from it, but having strong opening can hook the viewer in and a strong closing moment which leaves a lasting impression can really serve you well. 

It is worth keeping in mind the sheer quantity of tapes a prospective agent or casting director will receive. They are time poor and have more to watch. From the small amount of casting I have done, the first 30 seconds is super important. By that point I already know if I want to see more, or if I want to move on. 

#2 ‘Pacey Pacey Darlings’

I had a director who used this exact phrase. It doesn’t mean rush, but it does mean trim the fat from the piece. It’s a warning against overindulging. 

Too often I see actors indulging in moments in a showreel. Extending a pause so they can push out a tear or let something linger so they ‘really feel it’. They feel the pressure of the showreel and focus so much on their moments, that they forget to serve the scene. They are so concerned that their acting hasn’t been seen, so they act harder for longer. I feel most of us are guilty of this sometimes. Unfortunately this usually comes off as forced, indulgent or a little contrived. 

A good defence against this is to keep up the pace of the scene. Again, this doesn’t mean rushing lines or overlapping cues, it means making sure you are not artificially slowing it down, or adding unnecessary pauses in. Use the lines you have to pursue your objective. “Suit the action to the word, the word to the action” as Shakespeare said. Don’t act your intention and emotions and then say the line. Use your lines to convey your intentions and emotions. 

To put it another way: act on the line. And the best way to serve yourself, is to serve the scene. 

#3 All Killer, No Filler

“But what if my scene doesn’t have much happening in it?” I hear you ask. Well… find another scene. A great showreel scene is very similar to a great audition scene. It should be a crucial point for the character. Using a scene of fluff, where not much happens will give you very little opportunity to showcase your acting. A scene with a stronger character journey is going to have much more impact than a very domestic, uneventful scene. 

Character Journey

A good showreel scene is a mini story, with a beginning, middle and end. We often think about story arcs, but for showreels we need to think about arcs in a much smaller unit of action. In the 2-3 pages, something needs to happen to affect the character in it. This is what stories are all about. If you pick a scene just because of some witty dialogue or a cool punch line, you are showcasing the writer, not yourself. You will have no opportunity to demonstrate range or dynamism within a scene. However a scene with a strong character journey can give you the opportunity to 

Look for the journey of the character. If you don’t know what I mean by that have a think of these elements:

1. Is the character different at the beginning of the scene then at the end? (Character development)
2. Did the character expect one thing to happen, and instead had to deal with something else? (Gap between expectation and reality)
3. Did new information in the scene significantly shift the tone and energy of the character? (turning point moment)

By having a showreel scene which answers yes to one or all of the above criteria, your showreel scene will have the opportunities you need to demonstrate range, action/reaction and variety in your performance. It will also be entertaining for the viewer, because a story is happening in front of them. It becomes an interesting scene, not just a showreel!

Of course in the end it comes down to the playing of it, but having a scene which allows you to find peaks and troughs through playing an objective and that provides an opportunity for your character to shift and change during the events of a scene, then you are on your way to having a great showreel scene.

A Good Showreel Scene Requires No Context

Another often overlooked element of a good showreel is the amount of context it requires. 

This answer should be zero. Zero context should be required. It should require no explanation, no preamble and no complex set up or action. 

A good showreel scene allows whoever is watching to be able to concentrate on the acting, not find themselves asking questions about the scene. I would love to do a scene from The Expanse, but for someone that hasn’t seen it, mention of the “Outer Planet Alliance” is going to take them out of the scene as they are going to start wondering what that could possibly be. Whilst soldiers in the trench might be compelling, if there is too much action, we become distracted by the logistics of the world you are creating, and we can’t focus on the acting. 

Everything from the setting to the relationships should be immediately obvious or entirely irrelevant to the audience. Steer clear of jargon, whether its super professional, sci fi or supernatural. Pretty much, you are wanting to make sure there are no distractions or obstacles to the viewer focusing on you. 

The same goes for stylistic choices. Anything too genre specific, or stylistically out of the ordinary is going to be jarring. Fleabag is a great show for showreel scenes, but the direct to camera addresses can be jarring for a showreel. It works for Fleabag the show, it wont work for a showreel. People familiar with the show will get it, but if they haven’t seen it, they will be very confused. 

Two hander scenes that deal with personal matters are best, with a very clear relationship between the two characters. If I did end up doing a scene from The Expanse, I would choose one that deals with interpersonal drama, not one that mentions the political landscape of the solar system in the year 2400 or the technology that’s around. 

A Good Showreel Is ‘Beyond Compare’

A good showreel is a stand alone work. You should be able to watch it without context so the actor’s performance can shine through. With that in mind, you also don’t want your viewers to be reminded of someone else’s performance when they are watching your work. 

The last thing you want is to be compared to an Oscar winner. I see this almost every year I work with graduates. The scene they want to do is the scene that won someone an oscar. Its too fresh, too iconic, so many people will want to do it and most importantly… your performance will probably be compared to the Oscar winning performance. Why do this to yourself? 

Same applies for trending series. Don’t set yourself up to be compared against everyone else using that scene. A new, well written show comes out, and then, within a few months, a stack of actors are using the same few scenes for their showreel. Two years ago, everybody was doing Sex Ed scenes. Last year it was Fleabag. This year, I am sure it will be You, Gaslit or Succession. If you are looking at popular shows or movies, dig further into the show to find some of the less iconic moments. 

You are better off finding something a little left of field. Go to good production houses and look at their back catalogue. Maybe a locally produced show or something from a few years ago. Something which allows the viewer to watch without being distracted by lines they are familiar with, or scenes which they know. 

If you do want to do a scene from a show trending currently make sure you give your own version. Don’t set yourself up as a direct copy or replica of a performance, do it your way. 

If you want more tips on: where to find a showreel scenes.

Conclusion: Good Luck!

As with all of the topics I write about, I feel like I could write a book on the subject. Whilst there is always more to think about, this is a great place to start when considering what will make a good showreel scene. 

As I mentioned earlier, in the end it comes down to how you play it. And good actors will do good scenes. But being able to identify what makes a good scene for this purpose can help you narrow your search for scripts or help you choose between takes of the same scene.

Most important thing to remember if you are putting together a showreel scene, is that this does not have to be one and done. If you shoot a scene and you don’t like it, you can do another. If the scene you have up isn’t getting the reception you wanted, you can shoot another. If you get sick of the scene you have or you want to pitch yourself in a different direction, you can shoot another! Keep working until you’re happy with it. 

The post What Makes a Good Showreel Scene appeared first on StageMilk.

If you have come to this article in a fluster after searching for scenes for hours, don’t worry. This quick guide will point you in the right direction. For those just dipping their toe in, who are thinking of building a showreel, this guide will hopefully save you some stress. 

Updated 13th December, 2022.

What Are You Looking For?

The first step is knowing what you are looking for in a good showreel script. There is no point opening up a script resource page, or trawling through a series on double speed hoping to stumble across a perfect scene. It is much better to think about narrowing your search down before you even get started. 

So, stop and have a think. What are you looking for? Do you need a scene that contrasts the ones you already have? Or something that plays to your strength? What are the character traits, given circumstances or genres you need to investigate? 

What makes for a great showreel scene is a whole other article (watch this space…) But asking yourself these questions can help get you closer to finding a scene that is right for you and your needs. The time you save in the search will give you more time to prep and shoot. 

Can You Find Showreel Scripts Online?

Once you have some ideas, start searching for materials that fit your criteria. If you know the shows, films or plays you’re looking for, head directly to finding scripts. If you want to have a watch, make sure (before you start bingeing another series) that you look at synopses or episode breakdowns. This can help you pinpoint big moments for characters, or help you find a scene you remember seeing. 

The beauty of streaming service algorithms means that you can quickly scan a large group of shows or movies that have similarities to one another. Alternatively, if there is an actor that continues to play roles that you think suit your own style, have a look through their filmography to see what else might suit you. 

As far as finding a script… Well, this isn’t actually as hard as you might think! There are a myriad of databases on the internet filled with copies of scripts from films, television and online series. I could write a list, but honestly just making sure you’re using the right search terms is a better way to help you finding that scene you’re after. Use the full title of the movie or series you’re looking for, complete with season and episode number, followed by keywords such as “script”, “teleplay”, “transcript” or “sides”. I also like using “.pdf” at the end to further narrow results to something that is usable. It should look something like this:

“Breaking Bad Season 1 episode 4 script .pdf”

“Mad Max: Fury Road script .pdf” 

From there, you have options and you will know doubt find trustworthy free databases that you regularly return to for the shows you like. You will find full scripts, transcripts dialogue, sometimes even drafts or fan-transcribed documents. Although there is a little sifting to be done, in my experience I have found almost everything is out there somewhere. 

Streaming with Subtitles

If you still can’t find the script after a search, then you might have to go back to the drawing board: or in this case, a word processor. Throw on the subtitles, watch the scene on half-speed and have the script dictated to you. I have even heard of some people putting the volume up and turning on speech to text, but I haven’t had much luck myself. With all the typos you end up correcting, it’s usually quicker to transcribe the material directly.

Although seemingly convenient, particularly if you have immediate access to the show or movie, set aside more time than you think. However inefficient, when stuck, this can be a really solid option and also doubles as a line learning exercise! Just make sure it’s definitely a scene you want to do before putting in the effort. Unless you are an ex-court stenographer, it will take time to transcribe and format into a useful script. And you want to make sure what’s there is exactly what was originally written.

Can You Use Plays for Showreel Scenes?

We don’t often look here because the pacing and style of a play doesn’t always translate to camera. However, we are not making a film: we’re shooting a showreel scene! And good material is good material.

There has been a big revival of realism in plays this century, particularly in regards to dialogue. Many authors start with theatre and move into television. For example, Fleabag started as a play before it was turned into a television series. Writer Lucy Prebble was a very successful playwright before working on Succession. Lots of successful authors do both, meaning you can find some awesome scenes for your showreel within a play.

Again, I wouldn’t recommend starting your search by opening any compendium of plays and starting to read without knowing what you’re looking for. This would be a massive time sink. Instead, if you find a movie or series you like, see if the writer has also written for theatre and start from there. Finding playscripts online can also be harder than finding their film cousins, so you made need a library card (yes, an actual library card), access to a performing arts collection through a University, or an online database like Drama Online.

Another hidden bonus of finding scenes from a play is that it will more than likely be unique. Rather than picking the scene that’s in vogue from the series that everyone is watching, you’ll have a scene which is excellently written, yet not immediately recognisable. 

Acting Class Scenes

If you are currently doing an acting class (maybe you’re even part of StageMilk scene club? ), then scenes will be put in front of you all the time. Often, we disregard these scenes either because we view them as ‘learning tools’, or because we got slammed in a note session, or we are sick of them because we just saw our entire class do them. 

However, you should remember that the showreel is not for your class. It is for casting directors, directors, potential agents and collaborators to have a look at. If you find a scene that you enjoy—or more importantly, nail—then don’t be afraid to add it to the bank. 

Also, your teachers or instructors may be able to point you in the right direction by either recommending scenes they know or helping you to find authors, series, movies or actors to watch. They spend a lot of time watching and reading scenes, and will also have a good radar of when something has been overdone. They will also help you be objective and find scenes that suit you, as they’ll know you as a performer better than most.

Can You Write Your Own Showreel Scene?

Not many consider this, but… Can you write? If you are a wordsmith, you can simply write your own scene. I made that sound very simple, and of course, for those that have written to a high standard, you already know how difficult it can be to write a roughly two-minute scene with a satisfying arc/no context. 

Instead, I would suggest using your skills to augment or refine an already existing scene. If you find a character you like, but they are of the wrong age or gender, a few tweaks might make the scene more appropriate for you. An otherwise perfect scene might have too much exposition or need too much context to be understood. A few edits or additions might circumvent these problems. 

If you are an adept writer (or looking to become one, which is how they all start out), beginning from scratch is also a possibility. Just make sure you have people you trust to look at it before you use it to shoot with. Scripts go through huge amounts of development, drafting, and editing before they get put in front of the camera. Don’t assume your writing is any different. 

Like It, Save It: Active Watching.

Finally, The best way to save time in finding a showreel scene is to always be looking. This doesn’t mean constantly scouring scripts, but instead always having the search for scenes in the back of your mind when watching movies or series. 

We are all always consuming a stack of media across multiple platforms. Finding that scene you saw six months ago can be like finding a needle in a haystack—particularly if it’s from a show with multiple long seasons. So, if you see something you like, take note as you are watching. You may not always need a new scene, but taking five seconds to note down great scenes or characters as you see them will save you heaps of time when you do need to find one. Keep a journal, bookmark on a streaming platform or type something into your phone’s ‘notes’ section. You will thank yourself later. 

A Couple of Don’ts

Before you go launching into your search, let’s cover a few important don’ts when searching for a showreel script. Your search is going to take you all over the place and take a huge amount of time. Let me point out a few places you shouldn’t even bother with. Trust me.

#1 Get Away from Superhero or Science Fiction

Just… no. 

Why? Too popular, too iconic, or needing too much context and special effects. I love the Force as much as the next Jedi, but no one wants to see you screaming “I have the high ground!” in a showreel. No amount of self edited lava on your green screen is going to get that to carry. Same goes for all caped or mask-wearing super heroes, any of the Doctor Whos, passengers or crew onboard any of the Starfleet ships, no matter how personal the moment. A showreel is not the time to deliver your version of The Joker or Harley Quinn. 

Maybe, just maybe, you could get away with a more human moment from a show like Buffy, Supernatural, or Jessica Jones. But remember that it’s that human quality we’re looking for: not somebody who is, by default, more than or different than human. You might be a fan, it might be fun, but you won’t do yourself any favours. At worst, you’ll push people away.

#2 Stay Away from Cult Films and the Award Winners

Why would you want your performance compared to an Oscar winner? Do you really want your Roman Roy compared to the guy that just won an Emmy for it? Are you really going to deliver the Diner scene from Silver Linings Playbook better than Jennifer Lawrence? Is the Mr Pink rant from Reservoir Dogs really going to carry without the all star cast?

I see this all the time, and it’s a big no. Either you are going to copy the performance, or you are going to use lines that a true prodigy has already nailed. And I guarantee whoever is watching will start thinking about the person who did it first. 

These are fun scenes to study and play with, but for a showreel it is worth going a little further off the beaten track. You want people to be watching your acting, not thinking about the movie the scene is from or comparing you to the actor that played it so well that they were given a shiny statue for their efforts. 

#3 Animation

No matter how naturalistic the dialogue, the stylistic divide is too great. Don’t underestimate how much the character design and animation play into what you are receiving when viewing. Replacing that with warm bodies will very rarely work. 

#4 Translations

Not so much a hard “don’t”, more one to be careful of. Often, translations, subtitles or dubs don’t convey the nuance of the original language, making it cumbersome or clunky. If you think a scene is a winner, feel free to transcribe and give it a go. Just remember that when we hear dialogue in a foreign language we don’t understand, it can sound very very different when translated into English. Most of the time, it doesn’t sound half as artsy or deep.

#5 Don’t Use Audition Scenes… Yet

If you just had a self tape or audition, and you loved the part, don’t put it on your showreel straight away! 

Scripts being used to audition with are often embargoed, not for copy or release, or simply not finished yet. The timeline for a production to go from the audition process to official release could be years, and releasing a scene from the show or movie that isn’t finished is a big no-no. Casting directors may get very annoyed that the embargoed script is now on someone’s Showcast. 

So if you really love a script, put it in the vault and wait for the show or movie to be released. Only then it is fair game. 

Conclusion

Hopefully these tips will help you focus your showreel search, save you some time and get you closer to finding that scene you need for your showreel. 

Remember, a showreel is an ever-evolving thing. At different ages and stages, you will need to showcase different things. This means that you will always be updating. So its important to keep looking out for scenes you could add to the bank just in case you ever need to refresh your reel. As you start getting work, your self-shot scenes will gradually be replaced by examples of professional work, but even then, you may want to intersperse some new scenes to show range if you feel it’s getting a bit stale. 

So keep looking, keep searching and good hunting!

The post How to Find Showreel Scripts appeared first on StageMilk.

Already have a showreel? Here’s why your showreel probably sucks.

Why are showreels so darn important?

Besides your headshot, and perhaps your CV/Resume, a showreel is an actor’s only calling card. To put it simply – you will not get auditions without a showreel. A casting director wants to see your work before they spend 15 minutes with you in their office. Basically, they need to know you can act. So not only is it important to have a showreel full stop, but it’s also important that your showreel is working for you.

How do I make a showreel?

You have three main options here, or you can employ a combination of all three!

Option 1# Showreel Company

There’s some great showreel production companies out there, and… some not so good ones. If you’re going to employ a showreel production company to make your showreel from scratch be prepared to dish out a decent sum of cash – these services aren’t cheap. 99% of the time you’ll end up with really slick looking footage, but the quality of the script, or the other actor will take away from that. It’s a lot of money to spend on something you might not be 100% happy with in the end. So make sure you do a tonne of research on these companies, check out their previous work and be sure that your hard-earned money is going to be worth it.

Option 2# DIY Showreel Production

Your next alternative is grabbing a bunch of filmmaker/actor friends together and getting them to help you out making your own showreel. This will require a lot of proactivity and hard work on your behalf – but it can be done! This means you can work to your own schedule, and your own budget. All you’ll need is a great script, a camera operator, a sound operator and another actor to act with. The camera operator and the audio person will ideally have their own equipment, otherwise you can rent equipment you need from a rental house. Now, because they’re your mates, you can either pay them in beer, or throw them some cash to say thanks.

Option 3# Self Tape Showreel 

And the third option is the good old self-tape showreel. This is by far your cheapest and easiest option. I always recommend actors who are new to the industry, or who are strapped for cash, go with this method. Hit up a local self-tape studio, and mention you’re looking to put down 2 or 3 scenes for a showreel. They’ll know what you need, and you just have to show up! This option is easier, but it means you might need to be more mindful of the scenes you are choosing. Because this option will just be you on the screen, you might choose a scene that’s shorter, faster paced, and with minimal action involved. We don’t want to be seeing millions of props and jumping up and down on screen in a self-tape. We need to be tactical about how we convey meaning, without distracting. But, more on that later…

And of course, you might end up doing a combination of all three of these options! Now that you know which direction you’d like to take with your showreel, here’s what to do next. 

Choosing a Showreel Scene

Scene or Monologue?

There’s nothing wrong with doing a monologue for a showreel, however it’s hard to come by a short, sharp and slick monologue that works on screen. If you’re feeling creative and up to the task, go for it. But if you’re wanting to keep it simple, a showreel scene is a sure thing.

Where to find scenes?

Unfortunately a Google search just doesn’t cut it these days. The showreel scripts you’ll come across on the internet will be likely over-used, old and too recognisable. I encourage you to do some research, AKA are you ready for a fantastic excuse to watch more Netflix? First, make a list of some actors that you admire, and who are of similar look and vibe to you. Are you in your late 20’s, female, brunette, quirky, American and enjoy comedy? Perhaps check out Zoe Deschanel’s work, or Alison Brie. Or are you in your 40’s, male, rough, Aussie and enjoy dark thrillers and drama? Check out some of Ben Mendelsohn’s work, or Guy Pearce. For showreels, we’re going to be playing to our strengths, and in order to do that, you need to know what your strengths are. Ask some mates or your family for help here if you don’t know where to begin defining your “type.” Put together a watch list on IMDB and start watching! Check out film and TV in your favourite genres, with actors in your type range. If you come across a scene that you like, pause it, and scribe out the words. It’s really as simple as that!

Choosing the right scene

Now that you’ve got a list of around 5 or 6 scenes that you like, it’s time to choose the right one for you. Go with your gut here – which scene gets you the most excited, the most fired up? And go with that one. Here are some things to look for: 

• Great dialogue: a showreel scene shouldn’t be too wordy, but it also should have a tiny bit of poetry and flow to the dialogue. It should make you excited to get to say these lines and rehearse this work!
• Strong relationship: whilst hard core break up scenes aren’t encouraged, it’s imperative that the two characters in the scene have some relationship. A scene where someone’s walking into a grocery store, and interacting with the store clerk is largely uninteresting. Unless, perhaps that film was written by Martin McDonagh… Scenes where character’s are meeting for the first time work great,  It’s a fine line, but trust your instincts. What makes your scene interesting to watch?
• Character arc: Ideal showreel scenes also have some arc, even if it’s just a small one. The character should start somewhere, and end somewhere else.
• Context: it’s very hard for an audience to get on board with a scene when they have no clue what is happening. Part of that will come down to your acting, and making your choices nice and clear and the rest will be written on the page. So when you’re reading the scene out loud, try and approach it as if you’ve never heard it before – what questions arise? What is unclear? Are there any confusing elements? Avoid having too many big questions. This is why scenes between characters who are meeting for the first time often work really well – there is no context and we’re okay with that.
• Length: And finally, make sure your scene is not too long. 1 – 1.5 minute scenes are great. You don’t want your overall edited showreel to be more than 3 minutes ideally, so choose some nice short scenes which you can splice together nicely.

Here are some things to avoid: 

• Too much action: for obvious reasons, scenes which involve combat, weapons, stunts and supernatural elements are strong discouraged. Out of context, and with no special effects or music to back you up, you are guaranteed to look a little silly… So please avoid Lord of the Rings and Vampire Diaries.
• Long chunks of text: Make sure both character’s have relatively even amount of dialogue – you don’t want to be left standing on screen listening to the other character for 2 out of the 3 minutes in your showreel.
• Accents: Unless you are looking to do a scene specifically to show off a particular accent you’re working on, always do your showreel in your NATURAL ACCENT.
• Obscure references: some scenes you might want to avoid because they reference a particular event, place or thing that the audience has no idea about. It’s going to make it hard to connect with your character and the situation. Keep it simple.
• Big challenges: If you’re naturally not a comedic person, a showreel is not the place to try and figure out if you have comedy chops. Save that for the classroom. Choose scenes that suit you, and are within your range as it stands right now. If you love romance and drama, and you’re good at it, chances are you’ll nail a romantic/drama scene. Play to your strengths at all times.

You have license to edit!

If you’ve found an amazing scene, but there’s a frustrating reference in there, or not enough context – don’t be afraid to edit! You have creative license here, it’s your showreel. Edit out that reference, or change it to something relevant. Trim some dialogue, or add some more dialogue in for context. But of course, be careful. Some actors are gifted writers and storytellers as well as performers, but writing isn’t everyone’s strong suit. Ask an acting teacher, or a writer friend to help you out if you’re unsure.

Finding a great scene partner

Now you’ve locked in a great scene, you need to find a great scene partner to match! This is your chance to be a casting director, and finally have some say in a casting process! First and foremost, they must be a fantastic actor. You want someone who’s going to push you, and make you work. Also find someone whom you get along with, it makes the whole experience much more enjoyable. And finally make sure they suit the character – in terms of type and age range. If you’re struggling, don’t give up – just keep searching. You might not think it important to find the best scene partner, but trust me, it makes all the difference! If you’re going with Option 3#, and making your own self-tape showreel – then you need to find a great reader – this person should also be a great actor, and definitely not your mother! Even though they’re not on screen, their performance will ultimately feed into and affect yours.

Prepare thoroughly

If you know me, you know I’m a huge advocate of extensive preparation. This applies to filmmaking, auditioning, and of course – showreels. Showreels can sometimes take weeks to plan, prepare, shoot and edit (particularly if you’re shooting your own reel). And that’s absolutely fine! Showreels are important, and important things deserve time and attention. Take the time to really dive deep into your scene work – we have literally tonnes of resources on breaking down scenes, developing characters, objectives, stakes, backstories, and more. So go forth and explore all of those resources to your heart’s content, and then put that work into practice. Whilst I don’t always recommend rehearsing your scene before you shoot, it’s definitely an option. And every actor is different. But to put it simply – just learning your lines is not enough I’m afraid.

Preparation also includes things like accent work, blocking, physical work and vocal work. You want to put all your efforts into this one, and really make it count. It’s important not to rush it, and to enjoy the process. Treat it like you would an acting gig.

Read on if you’re producing your own showreel, otherwise jump to the conclusion…

Post Production

Flow/Editing

Not everyone knows their way around Premiere or Final Cut, so it might be worth getting someone to edit your showreel together for you. Whilst yes, this is an additional cost, iMovie doesn’t quite cut it anymore (literally).

Make sure that your showreel is upbeat, fast-paced and has a nice flow. It shouldn’t feel like a chore to get through, but it also shouldn’t be too fast and confusing to watch. It should have a nice rhythm and flow well, and each individual clip should be roughly similar in length. It’s a bit jarring to have a 15 second clip, and then a 2 minute clip, and then a 30 second clip. Always make sure your best work is first – and if there’s any material you’re not sure about, or feel like didn’t turn out too great, then leave it out altogether. Your showreel is your best work, so you need to be honest with yourself and always make sure you’re putting your best foot forward.

Music? Sometimes. On a case by case basis – sometimes music can really add to the production value and enhance the flow and intrigue of a showreel. So yes, if done well, and no, if it’s distracting and takes away from your performance instead of enhancing it.

We want to avoid montages altogether please! I’ve seen a few crazy showreels which are 5 minute compilations of various acting scenes, TVC’s, presenting jobs and even selfie’s from the past 10 years, underscored by very uninspiring pop music tracks. Please, for the love of Dionysus, no.

Length

No showreel should be longer than 4 minutes. I don’t care if you’re Jennifer Aniston, keep it under 4 minutes. Your sweet spot is around the 2.5 minute mark. And most likely casting directors and agents won’t watch longer than 30 seconds anyways. It’s for this reason, that I always encourage people to find scenes that are no more than 1.5 pages long for their showreels. There’s no point doing a 4 minute scene, you’ll only be able to use 1 minute of it in the edit.

An outside eye

Get a friend, or mentor or an agent (if you have one) to look over your showreel for you, and give you some notes. They’ll be able to give you an objective view of your reel, and help you find the best edit.

Conclusion

A showreel is one of your most important assets as an actor, but at the same time, try not to put too much pressure on yourself, otherwise you’ll never do it. I’ve known actors who’ve told me they “need to update their showreel” for months on end, and they never ended up doing it. Make the commitment to yourself, set a date, and work towards it. There is nothing more daunting than putting yourself out there, and I totally get that. But that’s part of the job of being an actor. Your showreel should be an accurate representation of your talent and comfortability on camera. It should give casting directors, agents, directors, producers etc. a solid idea of who you are as an actor. It’s for this reason that showreels are imperative assets, but remember that it’s not meant to be “perfect”. There is no such thing as a perfect showreel. Aim for a great showreel, aim to do your best, play to your strengths and you’ll be okay.

For affordable showreels in Sydney, click here. 

The post Ultimate Showreel Guide appeared first on StageMilk.

I get sent showreels everyday. And long story short, they usually suck.

Now, don’t get me wrong. It’s not that the acting sucks – for the most part, the acting work is pretty great. But it’s all the other stuff that gets in the way of a good showreel. And these are simple mistakes that can be easily solved. If you can make the right tweaks, you’ll be apart of the 5% of actors who have a great showreel that actually showcases them at their best.

Where it all goes wrong…

Beside your headshot, you have LITERALLY nothing else except your showreel to help you land agents, impress casting directors, producers, directors and get you auditions. And even though it’s so important, many actors don’t really know where to start.

First of all there is a bit of confusion when it comes to what a showreel really is. In an ideal scenario a showreel is a compilation of your professional film/TV work cut together into a slick, short video. It showcases your best work, shows range, and shows that you are a WORKING actor.

The problem is most actors have limited or no professional acting credits. So how do you make a compelling showreel when you have nothing to edit together?

Actors tend to do one of the following:

• They go to a showreel company and record 1-3 different scenes, spending a small fortune in an attempt to make a professional-looking reel.
• They do a bunch of free work: short films, web-series, student projects etc. and then compile all the scenes into a reel.
• They record self tapes. This is a fairly modern approach and one I will come back to at the end of this article.

I wanted to go over this to make sure we are all on the same page. All the above options can work, but each can also go really, really wrong.

Why your showreel sucks…

#1 It’s too long. Agents, casting directors and literally everyone else, are too busy to sit through a showreel that is longer than 3 minutes. And if you are sending through a 3 minute reel – it better be damn good. The best advice I heard was during an interview I did with casting director Daisy Hicks. Her advice was to film two 1 minute scenes. Find scenes that are short, sharp and have a twist or change of energy. Ideally you pick two short scenes that show two different strengths or sides to your personality. Then you can edit these together, and create a reel no longer than 3 minutes in length.

#2 BAD Production value. Poor production is the main hinderance for most showreels. Dodgy audio, weird framing, and unflattering lighting. A showreel that has bas production value immediately feels amateur and will have the viewer distracted and switching off. Make sure you are only using clips that are of decent professional standard. This is even true if you are simply shooting a self-tape scene to add to your reel. Make sure we can see you, hear you and your backdrop is clean, ironed and crease free! We don’t want to be thinking about anything else except your acting.

#3 GOOD Production value. But I thought we wanted good production value? We do. But when it comes to showreels, I often find that showreel companies, or those friends you asked from film school to help out, can go way, way too far. The end result can be equally problematic. What happens is that the showreel becomes too focused on how it looks – with flashy lighting effects, crash zooms, and weird cuts. It’s not a Wes Anderson film, and you don’t need a Hans Zimmer-esque score, the focus should be on YOU. And your acting. I once watched a showreel that had a 50 second prelude of haunting music before any acting began. An agent or casting director would have pressed pause, closed that tab, and moved onto the next showreel. Whoever you get to film your showreel scene, make sure that the focus is on the acting.

#4 OTT. I have seen some bad showreels in my time. The main thing that makes a really bad reel for me is when an actor simply slaps together clips from every single student film they have ever done. I have seen an alien love scene cut to a murder scene (no dialogue, just a blood bath) and then to a rom-com all in a 2 minute reel. You may think this is showing off your range as an actor, but it’s more likely just encouraging laughter from the unfortunate viewer. You want range, but find the range in your acting choices not in your obscure genres. If you have specific scenes, like action scenes or something with an accent, I would keep that as a separate clip.

# 5 Because it’s a showreel. Most showreels just feel like showreels. They just feel a bit forced and stagnant. As I mentioned earlier, a showreel ideally should be a clip from a professional production, if that isn’t possible you should be trying to imitate that the best you can. It should be natural, shot in a decent location and appropriately cast.

#6 Bad scene choice. Choosing a great scene should be your number one goal as an actor. You should constantly be on the hunt for great scenes. A great scene is different for everyone, however, it should always be something you resonate with, and that shows off your best qualities. If you have comic skills, then don’t pick something from The Crown. If you are trying to show off your dramatic chops, don’t do a Seinfeld scene.

#7 The other actor. Let me put it simply. If you are recording a new showreel, whether that’s a $2000 produced showreel scene or a self tape with a mate, you want the BEST POSSIBLE ACTOR to help you. A showreel is guaranteed to fall flat without a great scene partner. And this is true even if you’re the only one on camera!

#8 Sunk costs. Many actors refuse to update their showreel simply because their existing reel cost heaps of money, or took a bunch of time, to put together. I know it hurts, but this is no reason to hold your acting career back. Spent $2000 on a showreel and not getting any positive responses from it? Might be time to throw it in the trash and record a self tape with a friend instead.

#9 Your best work is at the end. The first 30 seconds are very important in a showreel. In fact, there is research to suggest that we make up our opinions on people within 7 seconds. If your best work is 4.57 into your reel there is no hope of anyone seeing it. So many actors have their scenes in reverse, starting with a scene they think is more “interesting” rather than the one that showcases them at their best. Golden rule: Whatever is the best acting goes first.

#10 You’re not Billy Crystal. Many actors fall into the trap of recording scenes that are overdone, or simply too famous. Although the When Harry Met Sally is scene a cute, seeing that same scene in every showreel is not.

#11 Your showreel is a montage. Some actors make the mistake of editing together 15 seconds from every piece of work they’ve done, often to pop music with funky transitions in between each. We don’t want to see background extra work from that time you were in 1 shot in TheGreat Gatsby, and nor do we want to see commercials where you ate a burger and smiled. We want to see acting scenes only! And just pick 2 or 3 pieces of work – not 15. And no need for music or transitions…

So what should I do to improve my showreel?

This article isn’t meant to be demoralising, but hopefully will give you the wake up call you need to take a fresh look at your showreel and honestly ask yourself, “is this my best work?”

#1 Take an honest look at your showreel. Watch your showreel from start to finish and ask yourself is this really my best work? And most importantly, is your best work at the start? The first scene you feature is the most important, so make sure it’s your best work. After an honest, objective look, you might find your showreel just needs a little rearranging and a bit of a trim. If this is the case, set yourself an editing date and get it done. Don’t be afraid to ask for opinions – from friends, or if you have an agent – definitely get their opinion.

#2 Start again. If you can solve your showreel with a bit of editing, great. But if that doesn’t do the trick it’s time to shoot something new. If you have the time, money or talented friends to shoot a proper scene, then go for it! But for most of you, I would recommend shooting self-tapes instead. I have interviewed many top casting directors and agents, and EVERY SINGLE ONE of them loves to see self-tapes in a showreel. Most believe they are either “as good” or “better” than a produced showreel.

Most actors have friends with a decent self tape set up, but if that isn’t you than there are plenty of studios in all the major cities where you can pay less than $100 to put down a scene. Often it’s actors who run the studios, so you will also get a great reader included. You don’t have to tell them it’s for a showreel, just put it down like a normal scene and voila! New showreel in an afternoon’s work.

9 Common Showreel Mistakes (Must Watch)

Conclusion

Now you know what you have to do,  get out there and do something for your acting career. My showreel definitely needs updating. I often write these articles hoping that I will take my own advice! I know how hard it can be to spend time and money updating your showreel, especially after a few quiet months, but without it, it’s going to remain a quiet year! If you are struggling to find a great scene, or want to get more confident working on self tapes, check out our online scene club. This community is a great place to practice your acting, refine your screen skills and get a new self tape showreel every single month to add to your portfolio.

The post Does Your Showreel Suck? appeared first on StageMilk.

A great showreel showcases your voice, physicality and personality in an authentic way. It is easy to watch, no longer than 4 minutes, and includes a variety of scenes. It is not about acting your pants off, looking super attractive and having the highest of production values. Your Showreel is there to represent you in your most genuine, peak performance, to advertise what is essentially your product. The aesthetics of the footage should complement your performance, and not detract from it. This is your chance to show a casting director or agent that you can do the job they are hiring you to do. 

The StageMilk Showreel Package

Collectively, we’ve watched a tonne of actor showreels, as well as shot a whole heap of them (including our own). So we’ve become pretty familiar with what works, and what doesn’t. We also realised there was a lack of high-quality services for showreels, at affordable prices.

StageMilk Showreels are a little different from the rest. First of all, we’re actors too – we’ve been there, done that, so you’ll be guided by fellow thespians. We’re also filmmakers, so you can rest assured, your reel is going to look professional and cinematic, a breath of fresh air for agents, directors and casting directors.

Package 1: 1x scene, edited, colour-graded and sound designed.

• 4hr shoot for a 2-minute scene
• full edit, grade and sound design
• high-quality files sent to you online, which you can download.

Package 2: 2x scenes, edited, colour-graded and sound designed.

• 8 hr shoot, for 2x 2-minute scenes
• full edit, grade and sound design + titles
• high-quality files sent to you online, which you can download.

General Info

Crews located in Sydney only (for now).

For advice, a quote or a great showreel, email andrew@stagemilk.com

Testimonials

“I absolutely love my showreel by Indiana and the team. Working with her is a dream – she accepts nothing less than top quality, but also makes the experience fun and so comfortable so that you can capture your best work.” – Emily Richardson

The post Affordable Showreels Sydney appeared first on StageMilk.

StageMilk: Yes – all the way, yes!

A Showreel is an essential tool in your audition kit. In order to sift through their endless lists of submissions, agents and casting directors need to judge your suitability in a less than concrete manner.

We’ve all heard of the X factor, and it’s an unfortunate fact that no one can pinpoint exactly what that is. All you need to know is that it exists and is constantly evolving depending on the job and the crop of acting talent. What makes you stand out for one audition may lose you the opportunity to land a gig at another. What you as an actor need to do, is define what you are presenting and present it as well as you possibly can. This is where a Showreel comes in. A headshot is nice, a CV is fine, but the three elements combined give a snapshot of your vibe, potential, experience, style, any aspect of performance that they are looking for in a role. Note that this doesn’t guarantee you roles. This doesn’t allow you to present the actor you think everyone wants. That approach will inevitably backfire. Your Showreel is there to represent you in your most genuine, peak performance, to advertise what is essentially your product.

If you have been cast in any professional roles, edit these in order from best to … less best. A collection of previous footage looks good because it shows not just your previous cast-ability, but also demonstrates that you have experience working on a professional set. Never underestimate your ability to be professional and play nicely with others. Talent is half of the equation, but if you are a nightmare on set, you won’t get rehired. Introduce the reel with your name and contact details, maybe an image of your headshot, on a brief slate. Then keep it down to maximum 5 clips. Avoid montages and transitions, keep it clear and simple. This is a catalogue, not a movie trailer.

If you are shooting a Showreel scene from scratch, choose one solid scene that has a character you are relaxed in, and an emotional shift. Some Showreels are a montage of cherry picked fake scenes, with one each to show you in comedy, drama, neo-noir, blockbuster, insert whatever genre is popular at the time. This just feels messy.

A single, clearly shot scene will be more powerful and less obsequious than the broadest montage of laughing, crying and yelling that you can concoct. If you are pitching for a job as an actor, the agent or casting director will assume you can run the full gamut of emotions. You are an actor, after all. A carpenter doesn’t list their ability to hammer in a nail on their resume as it’s a foregone conclusion. It may be tempting to write your own tailor made scene, but I would suggest staying away from this. Not only are you not pitching yourself as a writer (at this point in time), but you are also a more dynamic actor if you have a bit of distance from the prejudices that can affect you when performing your own writing. By performing someone else’s material, you are showing the agent/CD that you can do the job they are hiring you to do.

Note: you can always tweak a scene slightly if it is out of context, or change any details that make it more difficult to shoot or to perform.

A Showreel is there to give a moving, living impression of you as an artist, not as a box-ticking tool. You are not being graded on this, so represent yourself in a your best light, and shoot for a scene that has a bit of variety. Good comedy has an element of drama, and vice versa. It’s usually agreed upon that a Showreel should avoid being a climactic scene, as when they are taken out of context, high drama can feel undercooked and jarring. However, you do you. This is your 90 seconds to shine.

That’s right. 90 seconds. One and a half minutes. 2 minutes is okay if you have a collection of professional footage as the changing clips are more engaging. It is, without exception, better to leave the viewer wanting more. You are pitching to busy people who are doing you a service by watching your reel. Do them a service by keeping it short, sharp, and engaging. Bear in mind that a commercial on TV is only 20-30 seconds, and a poorly crafted one is boring and annoying. These are two impressions you need to avoid at all costs, because first impressions definitely count.

At the end of the day, a Showreel is just that; a reel of footage to show someone what you’re about. Just like an airbrushed headshot does you no favours, a fabricated showreel is fooling no one. Make it truthful, make it dynamic, and make it snappy, and you have yourself a Showreel.

Not sure how to create your own kick-ass showreel? Gotcha covered.

It might also be worth reading Showreel alternatives for those on a budget.

The post Do I need a Showreel? appeared first on StageMilk.

You need a showreel. It’s an essential part of your actor’s toolkit. So how do you make a great showreel when you don’t have any footage, or the money to fork out on an expensive reel?

Well were all about helping actors solve issues and keep their careers progressing, so here are two great solutions…

Making a showreel on a budget

Option #1 – Film a Self Tape

Running StageMilk has a few benefits. One is that I get to interview casting directors and agents quite often. I always like to ask them what they like to see in a showreel. The consensus is that a self tape can be as good as a showreel. There’s a few reasons why a simple, well-shot self tape can work really well as a showreel alternative.

Here are some of the benefits to making a self taped showreel:

1. The Acting. A great self tape puts the focus on the acting. There’s no production values, or other actors to distract from your work. This can be a great way to showoff your skills.
2. It’s cheap. Ideally you want to shoot your self tapes on a great camera, with good lighting, but other than that, a self tape is cheap (assuming you have some friends).
3. You look cool. If you’ve worked professionally, and you cut together a reel, then that’s great. But if you’re looking at using a showreel company to film a highly produced scene from a film or TV show, it can come across as amateur. This is particularly the case when you try an do a scene that is very stylised like a crime scene or a period piece. A self tape is more casual, and I think that can work in your favour as an actor.
4. Check your hair. When you’re shooting it yourself you can make sure you’re looking good. Check the footage between takes and make sure you are coming across your best. If not, try a new top, or go an fix your hair. This isn’t the case if you are shooting a professional reel.

Filming a great self tape [Video Guide]

More resources

For more information on how to film a great self tape. 

For more on self taping equipment. 

Option #2 – Shoot your own Reel

If you’re an actor and you don’t have friends that make films, you’re doing something wrong. Every actor should be making short films with their mates every weekend. Having a friend, or two or seven, who love shooting, editing or grading will pay dividends again and again throughout your career.

Ask a friend to help you to shoot a scene.

Choose a simple location, work with a great actor, and shoot. Make sure you’re really well prepared so that it’s easy for your mate to say yes. It will take 2 – 4 hours to shoot and probably the same time to edit. That’s a new reel all in a days work!

Here’s some of the benefits to shooting your own reel: 

1. Affordable. If you’re pulling favours you are getting a reel for free, or at the most a couple of hundred $$$. Depending on how good your mates are, the end product could be as good as going to a professional showreel company.
2. Creative control. Don’t like it? Start again. Want another take? Roll again. Don’t leave the creative decisions up to someone else. If you’re shooting your own scene you can make sure you’re happy with the result at each step of the way.
3. Learning. The industry is becoming more and more about self generated work. You should be putting down scenes, making shorts with your friends, hell making feature films. Working on a scene is a great way to start experimenting and learning more about film making.

Tip: as you’ll be acting in the scene, you ideally want to have a director who can help you and your scene partner stay focused on the acting. If you can’t swing a director, get an acting mate you trust to come along. Directing and acting at the same time can be tough work.

Conclusion

Either of these two options are viable alternatives to forking out for a professional showreel. Remember the focus should always be on the acting. At the end of the day the acting is what everyone’s interested in. I know actors who have booked TV, film, commercial and theatre work off self tapes. I’ve also seen actors land great agents simply by sending through a few basic self tapes. Don’t get caught up in production values, and instead focus on nailing the scene.

For more on making a great showreel. 

The post Showreel Alternatives appeared first on StageMilk.

Best Showreel Companies in Sydney

#1 JJ Splice

There was a period after graduating from drama school where every weekend a friend of mine was getting a reel filmed by JJ Splice. And there was a good reason for that. They produce high quality, professional reels for an affordable price. The company is headed up by feature film director Dean Francis, who places a strong emphasis on great acting. I think this element is often overlooked in showreel production. Companies are so focused on making the reel look and sound good that they forget to focus on the acting.

#2 Department of Pretend

DOP is headed up by Hamish Michael, an incredible actor – which means his insight into editing showreels and shooting self-tapes is truly invaluable. If you don’t have a great looking self-tape set-up at home, you can book in at Department of Pretend and get super slick, professional self-tape footage to edit together into a reel. Hamish also offers a showreel editing service, where he’ll edit together existing footage to make a wonderful showreel for you.

#3 StageMilk Showreels

The StageMilk team are predominantly based in Sydney, and we wanted to offer a more affordable option for actors when it comes to making showreels. We can shoot scenes on location, or shoot professional self-tapes for your reel. We can also help to edit together existing footage. If you want to learn more about our reels shoot me an email: andrew@stagemilk.com. 

Learn more: Sydney Showreel Packages

Choosing a Showreel Company

I recommend checking out all the companies we have listed here. Watch at least 3 of their reels before making up your mind and look into the company. Ask friends who have worked with them. Then meet up with the team and see how you get along. You want to feel comfortable working with the director. That’s when you’ll do your best work.

Showreel Alternatives

We recently put together an article on showreel alternatives and we discuss two much more affordable options:

Film something with a friend

Do you have a film-making friend? Well, you should. Get together with some mates and film your own scene. Learning more about film making will be invaluable in your acting career. You keep creative control and you can probably get a really great end product, depending on how good your friends are.

Make a Self-Tape Showreel

If you haven’t got much, or any, professional work, and can’t afford a filmed reel you need to look at filming a self-tape. More and more agents are actually pushing for this sort of showreel. The benefit is that a self-tape places the focus on the acting. Learn more about filming a self-tape.

The post Sydney Showreels appeared first on StageMilk.