Learning how to get better at auditioning requires an understanding of the industry, as well as some hard work invested into your actor’s toolkit. Ensure you are prepared, have strategies in place to deal with nerves and have a good understanding of the brief. Most importantly, practice auditioning and all it entails: script analysis, learning and memorising a monologue or short scene, and be ready to modify what you’re showing based on the casting director’s notes.

It might sound strange to hear this, but auditioning and acting aren’t the same thing. They’re very closely related, but there are a different set of skills we can hone that will be a huge help to us when our number is up and we step into the audition room. So let’s dive straight in, and catch you up on how to get better at auditioning.

The Room vs. The Tape

We audition for a role in one of two ways: either in a room with ugly carpet and the production team sitting behind a trestle table, or in our own bedrooms with a blue screen behind us and a camera in front of us. Before we move on, let’s quickly break down what separates them—as there’s actually a whole lot more they have in common.

Auditioning in Person

Auditioning in person is far less common these days, which is a shame, because it gives you a great chance to foist your personality on the casting team. Unlike a self-tape, you get to walk into the room and make a good first impression. So bring your charm and your personality and let that work to your advantage!

However: when you’re in the room, you’re on a timer. You only have about 15 minutes or so to strut your stuff then it’s: “Thanks for coming, we’ll be in touch.” Be prepared, be prepared to nail it and watch out for those pesky nerves (see below.)

Auditioning via Tape

When you’re putting down a self-tape, you can shoot it as many times as you like before sending it in. You could do 600 garbage takes, absolutely kill it on Take 601 and send that through like you shot it in your lunch break, no biggie… Generally, if you’re doing more than five takes to get it right you need to do more preparation.

I’m of the belief that the first take is usually the best take if you’ve done your preparation well. The more tapes I do, the more I find I start to intellectualise the text rather than focusing on my character and their connection to the words. But it’s different for everyone.

Getting Nervous in an Audition

How many times have you rehearsed a piece in the comfort of your own bedroom with no one watching and thought: “Wow, this is perfect, easily some of the best acting I’ve ever done”, only to step into the room or in front of a camera and do something completely different? I think many of the challenges we face in auditions can be brought back to nerves.

Nerves are a big enough curveball that our team at StageMilk have been addressing the issue for years—whether for remote auditions or in person. But I’m here to argue that nerves can be a good thing, as long as they don’t overwhelm you. My dad always tells me before an audition that it’s good to be a little nervous, because it means that you care. That fluttering in your belly is energy and energy is good if we can harness it properly. 

Being Prepared for an Audition

The key to harnessing your nerves is focusing on what you can control. The biggest thing you have control over is your preparation. That means reading the script, learning your lines, and doing a good vocal and physical warm-up. We have several articles on these topics (linked in blue below), but let me give you the cliff notes version on each to get you started and feeling prepared!

Recommended Reading: The Audition by Ed Hooks. Whilst the process of auditioning has changed since this book was published, the advice Ed Hooks gives is timeless and super valuable. Add it to your list.

Reading the Script

If you’re lucky enough to get the whole script, read it all the way through a couple of times. You’d be surprised how many actors need to be taught this: read the whole damn script. Guess what happens if the director asks you a question about the script you can’t answer? Doesn’t matter if you acted like Meryl Streep: you’re not getting that part, because nobody believes you give a damn.

If you don’t get the whole script, read the excerpt you have and squeeze all the meaning out of it you possibly can. Analyse the script: know the words, find the character—their objective and their actions—and plumb the piece for subtext. All of this will help you realise your role.

Finally, focus on your character. Build them based on the text and make them feel real. It’s common for actors to try and build a character from the ground up—and sometimes you need to. But with any decent script, all the information we need to create a compelling character is usually already there.

Learning your Lines

When I say learn your lines, I mean know your lines inside out, back to front and side to side. There are a million and one ways to learn your lines effectively, but I’ll share my favourite method with you.

When I am given a script, I like to attach a physical and vocal quality to each word or couple of words while I’m learning them. For example, if need to say “fire” I might shake around a bunch and lengthen out the “i” sound. I’ll repeat the process until I find something that feels like the word “fire” in my body. It might sound strange, but it helps you connect your body to the saying of the words. And suddenly, the words become easier to remember!

Warm Up

On the day of your audition, before you leave or before you shoot, do an awesome warm-up. It’s different for everyone but generally, you want to spend 5 minutes warming up your voice and about 10 minutes warming up your body. Even if you’re shooting a self-tape and never leaving your house, you still want to find that switched-on energy that comes from pumping blood and oxygen around your system.

Do whatever is going to get you into the zone. Me? I like to dance to my favourite music. Really dance—as in flail my limbs and throw my body around. Your warm-up should be fun, and it should energise you before the audition.

Personal Practice

Let me tell you a secret: I will occasionally submit myself for projects that I don’t actually want to land, purely so I can practice at auditioning. (Don’t tell anyone I told you that; not even our fearless leader Andrew!)

If you have a StarNow subscription, follow independent theatre companies and low-profile casting directors on Instagram. You’ll be exposed to an ocean of projects. Apply for these projects for the practice, and if you get the role you can simply say no. Use this trick with discretion, though, because you don’t want to build a reputation for yourself of turning down projects.

Okay, after being very sneaky, I’ll give you some more ethical advice. Build up a strong personal practice. I’ll share mine to show you what I mean.

• Morning Pages, every morning.
• Five minute voice warm-up, every day.
• Read one play a week.
• Prepare one classical and one contemporary monologue each month, and film them*.
• Exercise every day.

*I film myself doing monologues so I can send them to people I trust for feedback. You can send these to a friend, mentor or old drama school teacher. You can even join us on here at StageMilk’s Scene Club for professional feedback each month!

Your personal practice is what will carry you through not only auditions, but your entire career. It’s easy to let acting fall by the wayside occasionally because it’s such a slow game and work is hard to come by, but acting is a muscle. If you don’t use it, it will atrophy—and it will show in your auditions. So put together a routine and get training.

Your Best Friend

Once you’re feeling prepared, and keeping yourself in practice, it all comes down to attitude. Here’s something I like to use to keep positive for self-tape auditions. I like to pretend that the camera is my best friend in the whole world and loves me a lot. Even if I have someone reading across from me, I still pretend that it’s not an iPhone with a cracked screen standing next to them, but my best friend.

It sounds simple because it is. But the minor psychological adjustment this makes can be really useful for dealing with nerves and also giving a more engaged performance. You may have heard things like: “The camera sees everything”, “The camera doesn’t have a heart”… This kind of chatter about cameras can be quite detrimental to us. If we internalise that the camera is some kind of stone-cold killer, then it will peek through in our acting. Try to reframe that and see the difference it makes.

You can also apply this to some extent in the room. Imagine the panel and/or the actor reading across from you are all your best friends. If I know who’s directing and casting the project, then I like to look them up to see what they’ve worked on but also just put a face to the name. Doing this makes it less intimidating when I walk in.

Little tricks like this add up and can have a super positive impact on your performance. So start asking your acting pals what kind of little things they do and start building up a toolkit of audition tricks for yourself!

Conclusion

I’ll conclude this article with one last piece of advice. As actors going for roles, what we’re ultimately doing is charming people. I’ve heard casting directors say that they knew straight away that an actor was perfect for a role as soon as they walked in the room, simply because they’re professional and likeable people.

Your charisma is important as an actor. I say that with love and compassion, because I know what it’s like to feel socially anxious in auditions and I know how strange it can feel to force a persona. This is why I think a lot of drama schools, and directors, talk about actors needing more life experience. The best actors are human beings who know themselves and who are comfortable in their own skin—which is something everyone can achieve with time and little introspection.

When you walk into a room, when you hit record on the camera and introduce yourself, stand up straight, smile and show them how much of a pleasure you would be to work with. That kind of attitude will take you very far in life, I think.

Anyway, hope this helps. See you around the traps!

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Your Self-Tape Kit:

• Your Phone
• Smartphone Tripod
• Pop-up Backdrop
• Desktop Ring Light
• Your Laptop
• Your Reader
• Bonus: Tips and Tricks

Using Your Phone to Self-Tape

While this may seem obvious to some, we often overlook just how helpful our smartphones can be for us as actors. There used to be quite a significant difference in the general quality of footage captured on a phone versus that of a DSLR or mirrorless camera, but these day’s that difference is not going to be that big of a deal in the big picture. Casting directors really are only after one thing, and that’s to see and hear you clearly, and modern smartphones can most certainly do that, and then some.

Smartphone Tripod

These bad boys are a game changer when it comes to shooting auditions on the go, and the best part is they’re relatively cheap. All you’ll need is maybe a table or a stack of books to get it to the right height, and from there it’s smooth sailing. You can pick one of these up at most big office stores and sometimes even your local grocery store.

Pop-up Backdrop

This can be one of the hardest things to manage when doing a self tape on the road. The background. Enter Stage Left: the pop up backdrop! Easily fitting into almost any piece of luggage you can imagine, once you’ve packed this in your suitcase, you’ll hardly even know it’s there. These can come in a number of different colours and are almost always double sided. The only thing we suggest you don’t do is use the colour green. While this used to be quite common in recent years it has fallen out of fashion. A more versatile colour combo would be blue or grey.

Desktop Ring Light for Lighting a Self-Tape

We at StageMilk have spent a lot of our careers across our varying continents in hotel rooms for work. We are well aware of what a privilege it is to be able to travel for work. But one of the downsides of staying in sometimes less than ideal living arrangements is the lighting. Lighting will change from room to room, hotel to hotel which can make the job of auditioning on the go even more tricky. But we can counteract that with the help of a handy dandy Desktop Ring Light. Still relatively small but by no means invisible, the Desktop Ring Light will fit into most carry-on luggage and certainly into your check in. Most of the time you’ll be able to get some decent natural light, but on the odd occasion you can’t, these little guys can really come in handy.

Using Your Laptop to Edit and Upload a Self-Tape

A lot of people may want to leave their personal computer at home, particularly if they’re going on holiday, but when it comes time to edit your self tapes, having your laptop by your side can be extremely helpful. I’ve certainly spent a lot of my precious time trying to edit tapes on my phone with my clumsy fingers, and I can tell you, it ain’t fun. Most modern laptops are going to come off the factory floor with some sort of basic editing software already built in, so you won’t even have to download any of the more advanced stuff. Added bonus: If it rains, you’ll at least have something to watch Netflix on.

Your Reader/Scene Partner

Now finding a reader can be one of the trickiest things to navigate. In an ideal situation someone on your journey with you will be able to lend a helping hand. But what can you do if no ones around to help? Luckily for you we live in the 21st century and can welcome our friends, family and colleagues into our homes and hotel rooms through the wonderful world of video chat! Your best port of call is to ask another actor friend to be your reader via zoom. And when you do, make sure that where you place their face is roughly the same height and angle you’d like to have them at, were they in the room with you. You can achieve this by stacking a few books up and placing your laptop right near the ‘camera’ to achieve that in room affect. But if even that’s not possible, your final port of call is to do your own roadside ADR. Record the other characters lines, and play them as you record the scene. This really should be reserved for emergencies, but when it’s crunch time, it can get you out of a pinch.

Bonus: Self-Tape Tips & Tricks

• Bedsheet Background: If you don’t have access to a pop up background, a hotel bed sheet can really come in handy. Hand it from a couple of door frames, or even from the curtain rail and hey presto, you’ve got yourself a backdrop.
• Leaning Tower of Tripod: Perhaps you left your teeny weeny tripod at home. Fret not my friends. You’ve probably got a table, some boxes of cereal or other food items, and maybe even some books. Put your civil engineering skills to the test and craft yourself a tower to cradle your phone on and hey hey you’ve got a tripod.
• Lamps, Camera, Action! If you’re struggling to get any natural light, or maybe even shooting your tape at night, consider shuffling a few of the lamps in your room around. Hotels certainly do love lamps and we thank them for it. Keep moving them around until you’ve found yourself a decent lighting setup and Bob’s your uncle! Just make sure to return them when you’re done.

Conclusion

So now you’ve got yourself your own little travelling self-tape kit! By no means is this an ideal set up for any audition tapes, but it will at the very least garner you a decent looking tape. So while these tips, tricks and tools probably won’t win you an Oscar for cinematography, they may just get you out of a pickle the next time you’re on the road.

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Every actor will be ready to tackle new challenges, goals and milestones at different points, because acting, innately, is a personal craft. And with that being said, the short answer to this question is almost always yes. You can start auditioning whenever you feel ready, however there are a few things that might be helpful for you to know before you dive in headfirst. 

So I thought we’d make a checklist. A checklist of things that might be beneficial for you to have in order, or feel confident in, before you dive into auditioning. So let’s get started!

Have I Acted for an Audience?

Now to some, this will seem quite basic. A lot of actors’ first experience of acting is in front of an audience. But for some who have gotten into acting, particularly if their first experiences have been in front of a camera, will have ventured down this long and winding road on their own. Having some sort of audience view your work, be it on stage, on camera, or in the lounge room, is a good first step to take before you have to perform in front of someone, with the added pressure that brings, such as an audition.

Do I Feel Confident I Could Tackle Any Scene?

This is a strange title to a bit of a vague question. When I say tackle, that’s exactly what I mean, a lot of football players go for a lot of tackles, but they don’t always succeed, and that’s fine. What matters is you are willing to try. Long winded analogy I know, but the essence of what we’re getting at here is this: Do I feel confident that if a casting director sent me a scene, of any length, genre, intensity, whatever, that I could do my best? Confidence is an important part of auditioning, so feeling like you can give pretty much anything a go will be a great asset when you’re starting out.

Do I Know What Kind of Work I Want to Do?

Some of you may think this is a silly question, and maybe it is. But bare with me. As I said many of you reading will be keen to do whatever work is available, and that’s awesome! But even if that is your answer at the end I’d invite you to ask yourself the question anyway. Maybe you’re not keen on doing ads. Maybe you really like film and television. Maybe you only want to do theatre. These are pretty big categories yes, but they’re merely examples. The point of all of this is that it’s okay to have preferences, boundaries, and goals. 

You should absolutely take whatever opportunities come your way, but at the same time know that it’s okay to say no to something, especially if it contradicts your principles. Your ‘yes’ is an asset, and should be guarded and respected.

All of this is to say that before you start you should do some introspection. Think about what you do and don’t want to do, so that when those things come up, you’ve had this discussion with yourself already, and the path ahead will be clearer than if you hadn’t.

Is My Actors Toolkit Sharp?

So here comes the business. An Actor’s toolkit is a lot like Mary Poppins bag. It’s wide and vast, and unique and kind of magical. And what’s more important is that everyone had different tools in their toolkit. Actors have different tools of the trade for getting out of jams, making something beautiful, digging deeper into something, but what they all should have is a clear, up to date and efficient business practice. This means (without spending your life’s earnings and doing what you can afford).

• Your headshots are up to date.
• Your CV is up to date.
• You’re on the appropriate casting profiles for your base, and that they’re up to date.
• You have an up to date showreel.

What’s My Plan for When It Hurts?

No one, I repeat, no one, is going to get the gig for every audition that they do, and that’s okay. All it usually means is that you just weren’t the right fit, no matter how good you were in your audition. A good audition doesn’t always have to result in booking a job, but that’s another article. 

The point is sometimes we’re not gonna get the gig, and even the most positive-Penelope is gonna be disappointed from time to time. This is your sign to think about what you’re going to do for the ones that hurt. Every actor will have different ways of dealing with not booking a job that they really wanted. Some have certain comfort foods, some have certain rituals, some have certain time frames, and some have folks that they chat to. Doing what you’ve got to do to look after yourself when this happens is a form of self care, and it’s kind of necessary. Some people will find it much easier, and maybe you’re one of them! But I would invite you to think about what you’ll do, and refine it over time.

Conclusion

If you answered yes to all of these questions then your answer is yes, if you answered yes to some of these questions then your answer is yes, and if you answered yes to none of these questions then your answer is also yes. You are ready to start auditioning whenever you feel ready. But I would invite you to take your time, work on making the answers to all of these questions a yes, because I believe these things will be beneficial to your journey as an actor. So mull over this list as long as you need, take the action you need to take, get ready, and I’ll see you in the waiting room.

The post Am I Ready to Start Auditioning? appeared first on StageMilk.

This guide is going to step you through the process of a film or TV audition. Hopefully understanding how the process works, and what you can expect when auditioning, will help you make the most of your upcoming audition.

Updated 17 May 2021

When the Audition Arrives

The first thing that will happen is your agent will email you with a casting location, date/time, and the sides to learn. It’s unlikely that you will get the full episode or the full film script (they don’t just hand those out willy-nilly), but if you do, you should definitely read them. More often than not you’ll get a one to three-page scene featuring your character and maybe a short character description.

Also, be prepared not to get a scene from the actual project you are auditioning for. Particularly for high profile projects, they will often give you a scene from a totally different TV show or movie with a similar character to get your take on that before they give you the actual material.

Quick hack: if your scene is from the project you’re auditioning for, take note of the page number of the script. The further along, generally speaking, the higher the stakes for the characters involved.

Analysis and Research

After you have read it and mined it for all the information possible, research the director and the writer. Between now and the audition, try and watch some of their other work and get an idea for the style and tone of their work. Something else you should do is research the world of the piece (particularly if it’s a specific historical period).

More on How to Breakdown a Script 

Learn Your Lines

Now learn your lines, and learn them into the ground. My old housemates and I would learn lines separately, then come together and do scenes while engaged in difficult physical activity like holding bridges or squats or while doing burpees. This sounds weird when I write it, but the idea was that in the audition you’re going to be under stress, if you can practice those lines under physical stress and get through them it might provide a bit of psychological preparation for the mental and emotional stress of the casting room.

Prepare, Don’t Plan

However you go about it, and as long as it works for you, make sure you prepare extensively. The trick is, prepare – don’t plan. By that, I mean, know every line, every beat, every moment, but have no idea how you’re going to do it. Be prepared to surprise yourself and the reader. The camera loves spontaneous action. If you’re surprising yourself, you are probably doing it right.

No idea where to start or what to do? Check out the StageMilk Scene Club

The Waiting Room

You’ve done your preparation in your own time, in the comfort of your own bedroom, and now things start to get real.

These either go one of two ways: either you walk into a casting waiting room, 10 – 15 minutes ahead of your time and it’s empty except for one other actor dressed alarmingly similar to you and you give each other a curt nod. Or it is packed to the rafters with mildly anxious humans muttering to themselves trying to get their lives together. Whichever way it goes, do whatever you have to do to focus yourself on the job at hand. However that manifests for you, don’t be a jerk to the people around you. Doing a loud vocal warm-up is probably an inappropriate option at this point. Look over your notes, your materials, maybe listen to some music. Do what you need to to get in the zone.

The Audition

Your initial audition will just be with the casting director and potentially a reader. Group auditions for film are rare but not unheard of. Be friendly and polite, but keep it professional; you’re there to do a job not to impress anyone. If you have any questions ask them before the camera starts rolling. You don’t have a lot of time so keep it concise, but if anything came up in your preparation that you were unsure about, this is the time.

Once the camera is rolling, you’re on. Try and connect with the reader as much as possible; stay alive in the moment and really genuinely listen. If you surprise yourself, you will probably be surprising and interesting for the camera. Please make sure that if you are going to physically engage with another actor or the reader, you get consent from them first. The casting director will then offer you some feedback and redirection. After all this build-up and the intensity of the scene, you might find it difficult to really hear what they are saying. Letting your last performance go, and taking on what they have to offer is what is going to get you this job. Assume you are only going to get two takes, if you get a third then happy days, but work for two and do everything in your power to ensure they are your best two takes.

Stagemilk.com is literally filled end to end with helpful information on just this – so go check it out!

You’re done!

Thank everyone and get on your merry way. Especially after big auditions, I like to make sure I have something lined up to do straight afterwards. It doesn’t actually matter what the activity is so long as it doesn’t allow you to ruminate on your performance and all the things you could’ve done differently. No of us have a time machine, once you are out of the room it’s time to drop that audition, let it go and move on with your life. Go and meet some friends in the park, head off to your day job, hit the gym, or go for a swim. It can be worth calling your agent just to check in and say hi. If you don’t have an agent and would like to get one, you can read our handy guide here.

It’s hard, but try to not think about it anymore. You have done everything you can do. Now it’s out of your control, onto the next.

Callbacks

Callbacks are a mercurial beast. They might take place days, weeks, or even months after your initial audition depending on the project. The script may be the exact one you initially auditioned with or it could be entirely different. You may not even get called back for the same role as the one auditioned for! Literally anything can happen at this point. Return to step one and get back to preparation. However, at some point you should receive at least your episode, if not a your character arc or the whole film script (potentially still in a draft or final draft form). Analyse these materials extensively. Make sure you look at some of the directors’ other work because it’s highly likely they will be at the callbacks to meet and chat to you. For some big American projects, you can find yourself in front of a panel of up to 10 people by the late stages. Keep your process the same, take on notes when they are given, keep surprising yourself, keep putting down great work.

But What if it’s a Self-tape? (At Home Audition)

Very good question!

Especially at the moment, the majority of auditions are being done in self-tape format. For most actors, this has been a positive: it’s convenient, you can shoot at home in your own space, and you can do as many takes as you like. But it’s not all smooth sailing; self-tapes are a unique format that requires a solid home setup and the right headspace to execute without the help of a casting director. (More on dealing with self-tape nerves)

In terms of what to expect with a self-tape audition, the first steps are much the same. You will be sent an audition brief, with details on the character and the job, as well as a script to prepare and record. Your preparation should, therefore, be exactly the same. But here, instead of going in the room to record with a casting director, you have to do record the audition yourself.

We have more information on how to self-tape, which I would definitely read, as it will help you get your framing right. Here is a little freeze-frame of my most recent self-tape for a basic idea.

Once you have filmed it they will expect it to be sent through in the right format. For this, I would defer to your agent, or it might be listed in the original email. Generally aiming to get it under 100MB is a good guideline. You will always be given a deadline for your submission as well (stick to this at all costs). If you do need to ask for an extension, get your agent onto this with plenty of time to spare.

Once you have submitted, I wouldn’t expect too much. Hopefully, your agent will take a look and give you some feedback, but like with any audition, chances are you will hear nothing. As always, focus on just doing the best possible job, and enjoy the process of working on another scene.

Quick Hack: most actors get their auditions in right at the last second. Often casting directors or producers watch the work as they come in. So if you can get your submission in early, it is very likely your work will be watched, and give a good first impression.

Conclusion

That is a general overview of what to expect at a film or TV audition. It’s a little different to theatre or commercial work and requires a slight adjustment in your process. Hopefully, this guide has been a useful tool for you and all the best next time you are in the room!

For more practical tips on how to audition for film.

The post What to Expect at a Film or TV Audition appeared first on StageMilk.

I’ll let you know right now that if you’re looking for the big secret, the silver bullet that will guarantee you an audition and a lead role on a show, then you’re not going to find it here. We’re looking at real examples to find common factors that lead to an actor’s success to figure out what we can learn from their journeys and how you can apply that to wherever you happen to be in your own career right now.

What is Amazon Prime?

Firstly, let’s break down what we’re talking about when we say “Amazon Prime”. Amazon Studios is the television and film production and distribution section of the multinational technology company, Amazon. The content created by Amazon studios is distributed through Prime Video, a streaming service much like Netflix, Disney Plus, Hulu and Stan. There is a tonne of shows and films on Prime Video that have been produced, and even previously distributed, by other production companies. Shows that are both distributed and produced by Amazon Studios are usually referred to as Amazon Originals or an Amazon Original Series. Today we’re going to be talking about how to audition for an Amazon Original.

Amazon Originals

After launching in late 2010, Amazon Studios has become home to some excellent content in the past decade, and especially in the last few years, as streaming has become the dominant avenue for film and television production and distribution. The Boys, The Marvellous Mrs Maisel, The Expanse, Fleabag, and Hunters are some examples of the great content being created that proudly bears the Amazon Original series title. It’s important to note, however, that the folks actually doing the casting for these Amazon projects are not Amazon in-house casting directors that work exclusively on Amazon projects; they are casting directors who work on all sorts of projects, for all sorts of companies, who happen to be working on a specific Amazon Original series.

But, how do you actually get in front of one of these casting directors and land an audition for the next big Amazon Original show? We’re going to have a look at three actors who have starred in Amazon Original series, and how they got to audition and eventually star in these projects.

Case Studies:

Rachel Brosnahan – The Marvellous Mrs Maisel

Rachel Brosnahan is an American actor who plays Miriam “Midge” Maisel in the Amazon Original hit series The Marvellous Mrs Maisel. Set in New York City in the late 1950s, this fast-paced comedy was created by Amy Sherman-Palladino and Dan Palladino. If you know your early 2000s TV, you’ll recognise Amy Sherman-Palladino as the creator of the much-loved Gilmore Girls. Season 1 of The Marvellous Mrs Maisel was cast by Jeanie Bacharach, Meredith Tucker, and Cindy Tolan, with Tolan going on to cast Seasons 2 and 3 alone. Jeanie Bacharach says she “actually thought of Rachel when [she] read the script”, but decided to hold auditions anyway to make sure they got the right person for the job.

The Audition:
Rachel Brosnahan, who is now iconic as the show’s leading lady, said that the “audition process was a lot of dialogue[…] I auditioned with the wedding monologue, the big breakup scene with Joel, and the final stand-up.” Leaving the audition, Brosnahan was sure she had done a terrible job, “I left my first audition feeling like I’d sufficiently ended my career and was thrilled and surprised to be called back in and go out to L.A. to meet Amy and Dan.” Despite being very sick, and having to reschedule her call back, Rachel eventually made enough of an impression on Amy and Dan that she landed the role and the rest is history.

But, hold up, how do you even get to a place where a casting director is familiar enough with your work that they would even think of you when reading a script? Before The Marvellous Mrs Maisel, Brosnahan had a pretty extensive resume already. With credits on Gossip Girl (2010), Grey’s Anatomy (2013), Orange Is the New Black (2013), House of Cards (2013-2015), and Crisis in Six Scenes (2016) just to name a few. This might have looked like a breakthrough role for the 30-year old actor, but there was a tonne of work, and many years of auditioning and training, that lead to her landing the lead in a show like this.

Kate Mulvany – Hunters

Australian actor Kate Mulvany recently landed the lead role of Sister Harriet in the Amazon Original series Hunters, alongside Hollywood heavyweight Al Pacino. The series, which also stars Logan Lerman, Jerrika Hinton, Josh Radnor, and Tiffany Boone is set in New York City in 1977 where a young Jewish man, bent on revenge, forms a group of Nazi hunters. Hunters is creator David Weil’s breakout project and was cast by Ross Meyerson (Homeland, The Expanse), John Papsidera (Inception, Dunkirk, Memento, The Dark Knight) and Julie Tucker (Damages, Six Feet Under, Nurse Jackie).

The Audition:
In an interview with Inside Film (IF) Magazine, Mulvany said that the audition came as somewhat of a surprise to her. “I thought roles might dry up for actors who are over 40, but I have been offered parts I never expected to get”. When her US management suggested her for the role she didn’t expect to get it, but proceeded by sending out a package of her work. This included scenes from The Merger, The Little Death, Secret City and Get Krack!n. This package was enough to convince creator David Weil, the casting directors, Jordan Peele’s Monkeypaw Productions, and Sonar Entertainment that she was the right person for the role.

Phoebe Waller-Bridge – Fleabag

What rock have you been living under that you haven’t heard of Phoebe Waller-Bridge or her hit show Fleabag by now? Just in case you’ve been hibernating on some distant planet, Fleabag is an Amazon Original series about a central female character, Fleabag, trying to find love and companionship in her messed-up London life. Phoebe Waller-Bridge both wrote the show and stars as the show’s lead character. Other cast members include Olivia Colman, Andrew Scott, Sian Clifford, and Fiona Shaw. And the series was cast by Kelly Valentine Hendry, Alex Irwin, Victor Jenkins, and Olivia Scott-Webb.

The Audition:
There wasn’t one. Fleabag was originally written as a one-woman 10-minute comedy sketch by Waller-Bridge herself. She was helping her friend Deborah Frances-White fill a 10-minute spot in a comedy show, and wrote the piece in just a few days. After a positive response from the audience, Waller-Bridge’s best friend and DryWrite Theatre Company co-founder, Vicky Jones, encouraged her to turn it into a full-length play. The full-length play was performed for a month-long season at the Edinburgh Fringe Festival in 2013. Phoebe Waller-Bridge’s writing credits now include: Crashing (2016), Killing Eve (2018), and the 25th James Bond film No Time to Die (2021). And to think it all started as a ten-minute comedy sketch turned full-length one-woman fringe show.

What have we learnt?

From these case studies we can ascertain that there are many different paths towards landing a lead role in an Amazon Prime Original Series. However, all of these actors have some things in common, too. Here are some key takeaways from our above case studies about what it takes to be considered for, and ultimately land, that audition and role on Amazon Prime.

You need experience (and credits)

This one might be a little annoying to hear, especially when you’re just starting out, but the folks casting and producing these multi-million/billion-dollar projects need to know they can trust you to deliver. One of the ways they can be assured that you can do the job is that you’ve done it before. This is why we see actors’ careers seemingly sky-rocket all at once; momentum builds when people see your work, and then they want to be the ones credited for giving you that big breakthrough role. But, what is clear from all three of the above examples, is that a breakthrough role doesn’t come from nowhere, and often those who are taking the biggest risk on you are the casting directors who offer you a small part in a low budget project when you have absolutely no credits to your name. The more you work, the less you’re seen as a risk. So, by the time Rachel Brosnahan was up for Midge, or Kate Mulvany was being seen for Sister Harriet, they already had enough work to assure the company, the producers, the show creators, directors, and everyone else involved that they could deliver. It might seem like lead actors come out of nowhere to become the next big star, but that is rarely the reality.

You need an agent

The only way you are going to have a chance at even auditioning for the smaller roles that will set you on the right path is to have an agent. If you’ve read even a handful of Stagemilk articles, then you would know by now that we are big advocates of getting yourself an agent. Without one, you are pretty much invisible to the industry. Let’s follow the trajectory of casting a role for a moment. First, someone writes a role. When that project is picked up for production, it can sometimes already have certain actors attached (this is something that can be used to create trust and excitement in the project in the first place). The unfilled roles will then be passed onto the project’s casting director. They may already have some ideas about actors they’d like to see in certain roles. For the remainder of the roles, a brief will go out to agents detailing the role and what sort of actor they’re looking for to fill it. It’s at this point that your agent can suggest you if you are suited to the role. From there, you may get an audition if the casting director is interested in seeing you. Without an agent, you’re pretty much locked out of this process entirely. You may be able to find and submit yourself for briefs as a freelancer, but the quality and size of those roles will be less, and it will be a lot harder to get seen.

You can make your own luck (read: work)

Despite being incredibly talented performers, both Kate Mulvany and Phoebe Waller-Bridge got their first big breakthroughs through their work as writers. Kate Mulvany began as a multi-disciplinary artist, and wrote an award-winning and celebrated play called The Seed in the very early stages of her career. Similarly, Phoebe Waller-Bridge was able to launch her career as an actor by writing herself on stage and, subsequently, onto the Amazon Prime adaptation of that play. There are so many brilliant, talented, hard-working, and generous actors in the world. For every role there are hundreds of actors who could do a wonderful job at it, so it takes something else to set yourself apart from the crowd. If you have an idea for a show, or a unique voice as a writer, this can be very valuable, and a lot rarer than your skills as a performer. And even if the work you make doesn’t launch your career, you’ve still spent time developing your skills and most-likely given yourself a chance to perform (even on a small scale). Isn’t that better than sitting at home binging shows that you wished you were on? We certainly think so.

Read: How to Make Your Own Work

Where to start?

Let’s work backwards for a second so that each and every one of you reading can figure out where you are on the journey to landing that audition, and what your next step might be. To be someone a casting director thinks of for an Amazon Prime project that they’re casting you’re going to need some experience and credits that they’re familiar with. To get those credits you’re going to need to audition and book those (often smaller/supporting) roles. To be put up for those roles you need an agent. And to land yourself a great agent you need a headshot, CV, showreel, and some training. 

Great. So if you already have an agent who is putting you up for roles and what you need to do is book them then brush up on your audition skills here: How to Approach an Audition and What are directors looking for in an audition?

If you have an agent, but you’re not getting the auditions you need to get your career moving, check out this article on how to get more auditions and how to stay audition fit for when that dream audition finally does come around.

Trying to get an agent? Then these articles will help you with finding, and meeting with an agent, as well as some tips on what to avoid.

If you’re right at the beginning of the journey, give yourself the best start possible by reading up on what your first six months should look like: What to do in your First 6 Months as an Actor.

Conclusion 

Getting an audition for a role on an Amazon Prime Original series is going to involve a lot of the same steps as getting roles more generally. You want to build up your skills and profile to gradually climb higher and higher with each new opportunity you’re afforded. The biggest myth to bust about auditioning for Amazon Prime, or any big production company, is that the perfect lead role will come out of nowhere, and find you, the perfect actor for that role, wherever you are in the world. It’s just not true. Actors who audition for and book these roles have been working away at it for years, gradually building their experience, credits, and skills so that when that opportunity comes along, they’re ready for it. 

The post How to Audition for Amazon Prime appeared first on StageMilk.

#1 Be as prepared as possible.

Preparation is what allows you to be present in the audition. The more prepared you are the less nervous you’ll be. Do all your actor homework so that you’re not in your head judging yourself or forgetting lines. Strong preparation will give you a solid foundation going into the audition.

#2 Make your audition space your own.

One major advantage to remote auditions is that we control the environment. There’s no nervously shuffling into a waiting room of actors that look like you. You don’t have to worry about a long table filled with important people. The ball is in your court to create a space that will help you to do your best work (and, yes I did just use a sports reference). You can have candles burning behind the camera or a picture of your dog – hell, you can have your dog in the room if they’re good! Another hack is to place things that will keep you focused on the scene’s circumstances around.

And while we’re on the audition setup topic, there’s nothing worse than trying to prop up a backdrop or finetune your lighting last-minute. Depending on how much time you have, try to get everything you need setup as early as possible. If you’re able to, leave it up for the entire audition season. This way you can simply “walk on set” and do your job.

#3 Give yourself time beforehand.

Let me repeat that: give yourself time. Take ten minutes to clear your mind and get in a good headspace before your audition. If you’re prepared and ready to go, you won’t have to hunch over and go over lines or stare at yourself in the mirror and obsessively fix your hair. Empower yourself by doing something that makes you excited to create. Play music, meditate, do push-ups, stretch… whatever will make you feel good.

#4 Have the mindset that you already booked the job.

Many successful actors have credited this trick with killing their nerves. Instead of thinking about what casting wants to see or how badly you need the gig, treat the audition like it’s your first day on set. You’ve booked the gig and now you’re here to shoot the scene. All you have to do is what you love: act. This way, if you don’t get the job (which I hope you do!) at least you’ll have gotten the chance to really play the part and maybe even produced a self tape you can proudly show off.

#5 Let the nerves float by.

What do you do if you’re in the middle of the scene or live audition and nerves take over your brain? Let them come! This sounds counterintuitive, but it’s fighting nerves that gets us into trouble. As soon as you feel nervous and recognize that and focus your energy on stopping that feeling, you’re in way too deep. Instead, accept that the nerves are there and then focus on the scene. You’ll be surprised at how things can go away when you don’t pay them any attention.

Takeaway:

Nerves are going to come. They’re what make us human! However, we don’t have to waste our energy fighting them. The more you can practice accepting nerves and moving on, the more confident you will start to feel. It’s hard, but anything that’s worth mastering is.

The post 5 Ways to Calm Remote Audition Nerves appeared first on StageMilk.

“Whenever you’re ready.”

Those three words may make you itch all over, but I want you to comb the audition files in your brain for what they elicit. Make sure to check the trash bin! That phrase being uttered from “the other side of the table” elicits a guttural response for many of us. Generally, it takes the form of an exhale. Let’s call it: “the actor’s exhale.” You know what I’m talking about? The subconscious puff of air we push out, as if we’re exercising the body of all anxiety and unlocking the artist in our brain. The truth is, it does the opposite.

The time before an audition, ideally, is spent getting you in your most open and peaceful space. Exhaling at the start of your work takes you out of the present moment and back into your mind. It releases all the energy you’ve built up and reminds you that you’re about to start a scene. We want to draw from the present space we’re in.

The Barrow Group, an acclaimed acting institute in NYC, observes this issue as “Actor’s Breathing Syndrome.” That signature exhale is one of the many poor actor habits they’ve pinned down in an effort to help elevate artists. And once you’re made aware of it, that well-intentioned breathe out becomes painfully obvious.

If you’re a culprit of this, ask yourself why. Why am I prefacing my audition with an exhale? Why can’t I simply slip into a scene? Why has this become a habit? Subconsciously, this breath is most likely tied to nerves. Which brings us to one of the most important things you can do before an audition: relax.

Relaxation is an actor’s ally. Find the techniques that work for you in combating audition anxiety. Sometimes it helps to work backwards. Watch old self-tapes and pinpoint any recurring ticks or habits – sometimes it’s an exhale, sometimes it’s fiddling with fingers, sometimes it’s smiling too much. If you’re brave, ask a director or casting friend to help you. Once you observe a tick, figure out why it’s happening. Generally, it’ll be rooted in nerves.

Your first instinct might be to shield up, grab a sword and battle those nerves to the death. Doing that is only battling yourself. The optimal route is admitting you’re nervous and realizing that it’s perfectly fine. In fact, it’s normal. You’ve heard it a million times – being nervous is the same as being excited. We’re nervous because we care. So just observe the nerves and find ways to keep them from strangling your ability to perform.

Try on different relaxation methods until you find what works for you. Many actor’s find solace in meditation, while some swear by breathing exercises – it’s truly subjective! When you’re relaxed as an actor, you move out of your own way and can step into someone else’s shoes. “What if my character is anxious in the scene?” you ask. Ideally, you as the actor won’t be. You want to come from a blank slate of peace.

Now, breathe and put together your own pre-audition relaxation routine.

For more on auditioning…

The post Stop Doing This Before Every Audition appeared first on StageMilk.

But – before we get started, I want you guys to think about two things: 

1. How many self-tapes do you get in 1 year?
2. What else will you be using a camera for? Are you a vlogger? Are you a hobby photographer or videographer? Do you want to be able to shoot your own showreel or short films? (Or even feature films?)

Keep this in mind when it comes to investing in self-tape equipment – I don’t want you guys to go and buy a $2000 camera when you’re only self-taping 5 times a year. Some of the insane cameras we talk about later on in the article are complete overkill just for self-taping. But if you can make use of the camera for other creative projects it might be worth investing the extra $$$

Note: in this article, we include some rough prices. These are just an estimate and based on the camera price without lenses and additional kit.

Entry-Level

If you’re just getting started as an actor, you don’t self-tape that often, or you’re really on a tight budget – I don’t suggest you go and drop $2000 on a new camera with all the bells and whistles, especially if you’re rarely going to use it. Let’s look at some affordable entry-level camera options. 

Smartphones 

Let’s start with the good old smartphone – these days, smartphones have incredible video and photo capabilities. If you know how to use it, you can achieve really professional looking self-tapes on your smartphone. I’m an Apple person, but I know that Samsung and Google also have great smartphones that can also be used for self-tapes. As long as you have a smartphone that came out after 2016, you’re in good hands. So the iPhone 7, 8, 9, 10, 11 or 12 will all do wonders for self-tapes. 

A note on the iPhone SE: Apple have introduced the iPhone SE – which is a super affordable version of the iPhone 11, but it doesn’t have 2 or 3 cameras, instead it’s just got the one. This makes the price point super affordable, and for our self-tape purposes, you don’t need 3 different cameras – you just need the one, high quality one. 

Another note: Because obviously, most people have a smartphone already, it’s not as though you’re investing $1200 in a camera for self-tapes – this will also be your phone, and hopefully will last you a while! So, killing two birds with one stone, as they say!

Canon 3000D 

As far as DSLRs go, I absolutely adore Canon. They are incredibly user-friendly, well designed, and also the colour profiles on Canon cameras are wonderfully accurate, trendy and classic.

The Canon 3000D camera is a great entry-level DSLR which is more pitched at amateur photographers as opposed to videographers. So it’s not specifically designed to have top of the range video capabilities – but for around $399 – including a lens, it’s a pretty great deal if you ask me. 

Sensor: 18MP APS-C Sensor
Movie recording size: Full HD
LCD Screen: No articulating screen or touch screen. 

However, what I will say is – if you already have, say an iPhone 11 or the equivalent – you do not need to spend $450 on a DSLR, to be honest, your iPhone is going to look just as good and probably be easier for you to use. But in saying that, the 3000D is a beautiful camera, and it will take those self-tapes to the next level. 

Intermediate Level

So say you want to upgrade from the smartphone territory, and get yourself a nice, compact, affordable little camera to shoot self-tapes on. You might be self-taping quite frequently for auditions, or perhaps you want to make a nice looking self-tape showreel, or you’re just keen to invest in a camera that’s really going to take your tapes to the next level. Here are some cameras that I’d recommend that come in around the $1000 mark. 

Canon EOS M50

Canon EOS M50 is the first Mirrorless body from canon which has 4K video recording. It came out about 2 years ago, and it’s still holding up as a super affordable mirrorless 4K camera. It’s nice and compact, and whilst you definitely don’t need to shoot a self-tape in 4K, it’s still a great feature to have – especially if you are maybe getting into videography or vlogging. 

Approx. $649 with a kit lens (15-45mm)
Sensor: 24.2MP APS-C Sensor
Movie recording size: 4K

Sony A6000

The A6000 came out around 6 years ago – and it still holds up. This camera has super great autofocus capabilities – which is great for videography and vlogging and it also performs really well in low light. 

Approx. $650 includes 1x 16-50mm lens
Sensor: 24MP APS-C sensor
Movie recording size: 4K – total overkill

Again, you don’t need 4K for self-tapes BUT if this camera is going to serve you in other areas, not just self-tapes, then why not? 

Downsides: this camera doesn’t have an audio jack input – so you will need to either record your sound separately, and sync it later in the edit, or just use the onboard audio. I also find that I don’t love the colouring of Sony images – it doesn’t always flatter all skin types, and so you might find you want to do some colour grading later on. Or, at least make sure that you’re lighting your self-tapes really well, so you don’t look sickly and green! 

Panasonic Lumix G7 

The Lumix G7 came out back in 2015, but it’s still a great camera for entry-level videographers. It’s light and compact, and it’s a lot of bang for your buck – BUT you have to know what you’re doing to get the most out of this camera. In comparison, the Canon DSLR range is super user-friendly and it’s quite easy to get beautiful looking images and video without being a cinematographer. It’s great for guerilla filmmaking – the battery life is great, and you can definitely put some super slick cinematic lenses on this camera to make short films. 

Approx. $498 includes 1x 14-42mm Lens
Sensor: 16MP Micro Four Thirds
Movie recording size: 4K – total overkill
LCD Screen: Articulating Screen & Touch screen

Downsides: the recording format is in an MP4 codec – which are essentially really highly compressed files, which means that your computer may struggle to edit these files. So file-handling can be an issue if you don’t know how to do it. Similarly, I don’t love the Panasonic colour profiles – when I shoot on Panasonic, I always shoot in the “RAW”-est colour profile and then do a colour grade on the footage. But, I’m sure the average actor probably doesn’t know how to do that, nor wants to do that. So that’s something else to think about. 

Professional Level 

Okay, now if you’re serious about investing over $1000 in a new camera that you’re going to use for self-tapes, perhaps make a short film, or even do some photography – here’s a couple cameras I’d recommend. 

Sony A6400

The Sony A6000 range is really performing well in the industry – the A6400 features a much improved AF performance – which vloggers are loving, low light sensitivity has been improved and it also has an updated 180-degree flip screen. Which again, is helpful for self-tapes. Unlike the first of it’s kind, the A6400 has a microphone jack and a hot-shoe mount – so you can put a microphone on top of this camera body. 

Approx. $898 body only
Sensor: 24.2MP APS-C Sensor
Movie recording size: 4K
LCD Screen: 180-degree Flip Screen & Touch screen

Canon 80D / T7i

This camera, unlike the 3000D we mentioned before, was designed for video as well as photography – it has a flip-out viewscreen which is ideal for videographers and vloggers, as well as a larger sensor and better autofocus capabilities than the 3000D. You could also definitely use this camera for photography – it, of course, won’t be as good as say, the 5D or 7D – but if you’re just starting out – the 80D is an awesome package. 

Approx. $799 body only
Sensor: 24.2MP APS-C Sensor
Movie recording size: Full HD
LCD Screen: Articulating Screen & Touch screen

This is the camera I often use for self-tapes – it’s not cinema-quality, but it definitely doesn’t need to be. Because I’ve got some nice lights, a great backdrop and good audio equipment – the 80D is more than capable of shooting a fantastic self-tape. 

Canon 90D – StageMilk Favourite! 

The Canon 90D was released in late 2019, here at StageMilk we use the 90D for our YouTube content as a B camera – it’s basically the 80D, but new and improved. It’s got a bigger sensor, and 4K shooting. Which makes it perfect for those wanting to do some videography, photography and potentially even make a short film. The sensor size is the biggest we’ve seen so far on this list – which means you can get some incredible looking images and footages on this camera. 

Approx. $1199 body only
Sensor: 32.5 MP APS-C size sensor
Movie recording size: 4K
LCD Screen: Articulating Screen & Touch screen

Size-wise, it’s a little bigger and heavier than the other cameras we’ve mentioned – but for self-tapes, you’re just sticking it on a tripod anyway.

Filmmaker Level

So, I figured I’d mention some mirrorless cameras that are in the $2500 and above price range because I know some of you might be looking to invest some decent money in a camera that will double as a self-tape camera, as well as a camera for shooting short films. Or perhaps you are a tech nerd, with a desire for shiny things – I know I certainly am! 

Canon EOS R range – StageMilk Favourite! 

Personally, I’m pretty excited about the Canon R range – these cameras are mirrorless, with 4K shooting and great in low light (all of the qualities I loved in the Panasonics and the Sony mirrorless cameras) BUT it also has the beautiful canon colour profile that I love! It’s truly a win-win, which is why I bought the Canon EOS R earlier this year, and I’m absolutely loving it. With some great lenses, you could easily shoot a short film, heck even maybe an Indie feature film on these cameras. 

The EOS R will cost you around $1799  for the body only.
The EOS R5 and R6 are about $3899 and $2499 respectively (body only). 

Panasonic GH5

The GH5 is one of the most impressive compact mirrorless cameras out there – it’s been heralded by filmmakers, vloggers and videographers for packing so much into such a compact body and at a brilliant price point. 

The GH5 is $1997 and the GH5 S is $2497 (both body only)

Again – you could shoot short films, feature films, vlogs, wedding videos – whatever you want on this camera! So total overkill for self-tapes, but like I said – if you really want to go all out, then I say go for it! 

Sony a7S

And finally, I’ll mention the Sony a7s – there is no limit on what you can do with the a7s – like the GH5 and R range, you can 100% shoot some incredible short films, feature films etc. on this camera. With great low-light capabilities and a full-frame sensor all packed into a compact, light body – this camera is a dream for most. 

Approx. $2498 (body only)

Conclusion

There are so many cameras out there, and if you’re not a trained filmmaker, it can be really hard to see the woods through the trees here. We wanted to give you guys a good solid list of some cameras which would be great for filming your self-tapes, but also could be used for hobby photography, videography, vlogging and maybe even some short films. 

Again, take some time when investing in equipment – do all the research you need and if you’re not sure if you’ll make use of the camera that often, we don’t advise you go spending $2000 straight off the bat. Happy taping guys! 

Any questions about gear? Hit us up on Instagram or Facebook, we’re always happy to help! 

* Images taken from retailers of these cameras are used here for the purposes of reviewing these products * 

The post Best Camera for Self-Tapes appeared first on StageMilk.

Do not fret, my dear uncertain, auditioning thespians, wandering through the treacherous online casting woods. 

As if the process of auditioning isn’t daunting enough, these days the do’s and don’t’s of having to film one by yourself at home can be altogether overwhelming. The last thing you want to be worried about is how to simply introduce yourself on camera! We are often told that the ‘slate can make or break your audition’, or ‘you must do something outrageous and hilarious in your ident (identification) to stand out from the crowd’. Well, lately I feel like I have had to do a new audition daily, from commercial to theatrical, some of which I have been fortunate to successfully book! Trust me when I say that I don’t do anything especially overt or conduct a distinctive stunt in the slate to give myself the edge.     

I hasten to add that everyone has their own process, just as every actor is bringing their unique selves to the role, and I don’t operate under any almighty golden rule – because there is none. In truth, there is no great art to doing your “slate” or “identification/ident” to camera. If anything, thinking that there is may be more of a confusing, pressure-cooked disservice to yourself. So here are some simple tips and hopefully handy hints that I use for every single self-tape, including those from which I have been successfully cast – which means they must work!

#1 Follow the Instructions

Part of the reason we think we have to do something special with our slate is because auditions are more often than not so rare and elusive that we see it as our one opportunity to be really remembered. Although I’m going to let you in on a little SECRET I’ve discovered from having to do them quite frequently – the primary role of the slate is FUNCTIONALITY.

The topmost reason for the slate or ident is quite specifically to capture you ON CAMERA clearly stating your relevant personal information on which they will base your casting. So your paramount job, what you should ensure is executed well more than any other flourish or flare, is that you have provided ALL the CORRECT information that the casting agent has requested. 

Usually, casting has provided specific instructions in the brief as to what information they need you to outline on video in the slate. Look out for these instructions and don’t deviate from them – they are there for a reason. For instance, they often ask for your height, which is essential for a visual medium like film, particularly when matching you with co-stars you’ve never physically met. They usually ask you to state your availability for the shoot, for obvious reasons, or even other specifics like skills or dietary requirements that might be relevant to the project itself. 

For commercial castings, you will commonly be asked to specify in what ads you have appeared in the last 3 years. TELL THEM! Once you make your submission and sign your audition/wardrobe form, you are legally obligated to be totally transparent about what work you have done previously. I know that you are tempted to conceal your old jobs, particularly if they were so long ago that you’ve spent the money, can’t even remember filming them and now you fear they might risk your chances of booking this one, BUT you DO NOT want to get caught out lying on the slate. There are consequences.

THEY ARE NOT ASKING THESE QUESTIONS ARBITRARILY – if they’ve requested the information, whatever it is, they need to know, and you not providing that answer could hinder your chances for a callback. 

#2 Speak Clearly

E-NUN-CI-ATE… IN… YOUR… SLATE! 

This too is purely a practical tip, but when you’re saying anything to camera it’s important to be heard and understood. Within the context of a performance, the brilliant Howard Fine refers to this “verbal will”, which is the direct intention to SEND what you’re saying to be RECEIVED by another person. It’s tough to do that at a murmur, so let’s just leave the inaudible mumbling for bad performers in overacted scenes.

The motivation of verbal will can and should be embraced in your self-tape slate. INTEND to clearly introduce yourself so that you may be clearly RECEIVED by the casting team, and earn that role!

#3 Stay In Character (Essentially)

There are various schools of thought on whether or not an actor should use their own accent or the accent of the character in their personal slate if the two accents should differ. My thought on the matter is to always USE THE CHARACTER’S ACCENT. 

This, some might argue, is adding a distinguishing flavour to your slate, which I’ve previously stated is unnecessary. Although, I would dare to say, that it is more of a professional extension to your performance. 

Years ago I was advised that the ESSENCE of the character you’ve just portrayed or are about to portray should come across in your audition slate. Now, this doesn’t necessarily mean that once the scene is over you make your interpretation of Hannibal Lector stare threateningly down the barrel and introduce himself with your name quickly followed by: “…and, certainly Clarisse, I’m available for the shoot datesssssssssssss…” There is a certain energy you bring to every role within the scene, and it helps to embody notes of this energy in your personal slate. This isn’t exclusive to staying in an accent that isn’t your natural tongue but can even include mirroring the fact that the character is a more eloquent speaker or otherwise. Perhaps the essence you carry through is in the way your character stood: a slouch, an elegant poise, or soldierly stature. And it should change from role to role. For instance, a sweet-natured 50’s housewife would probably exude different energy to a special-ops assassin, BUT one actor is more than capable of bringing authenticity when auditioning for either. By exuding a slight extension of the essence you’ve created in the scene in your personal slate as well, you are embracing every chance to show just how suited you are for THIS role.

What they are looking for from your audition tape is whether you CAN play the CHARACTER or NOT. The main part of our job as actors is to facilitate the suspension of disbelief for the purposes of mimicking reality – don’t make it harder for anyone to think you’re capable of doing just that. Let’s say you’re up for the role of a hardened Ukrainian-American criminal who’s facing 20 to life in Sing-Sing (which you pull off superbly) and then in your slate, you reveal that in reality, you’re a happy-go-lucky Aussie larrikin with a heart of gold – you risk shattering the illusion you’ve created. And this is the very illusion for which you are hoping to be paid to craft, create, and carry off for potentially months on set or on stage. 

There are two paramount opposing theories to this. The first is that the slate is a moment for casting or production to get a measure of your real life personality and sense of what you would be like to work with. The second is the fear of looking foolish or that you’re trying too hard. To both theories I would say: an audition, by definition, is a practical demonstration of a candidate’s suitability and skill for a role. You’ve got one shot and a finite amount of screen time to show them you can do the job they’re asking for, and, believe me, you won’t feel foolish once you book it. 

#4 Don’t Overthink It

This might seem ironic after everything I’ve just said, but, in truth, the best slates are those that show you confident enough to know that this is purely protocol. 

Casting often refers to it as a “chat to camera”, which is really in the hopes of keeping things LIGHT and CASUAL.

This is why I suggested continuing the ESSENCE of the character into your slate and not the full portrayal. Because accent or no accent, commercial or theatrical, whether you’re listing your availabilities, allergies or extraordinary abilities, all your doing is breezily and basically saying: “Hi, I’m such and such, and here is the information you asked me to provide, thanks so much for your time”. 

#5 Filming & Editing Like a Pro

Finally, I will share with you perhaps the most fanciful aspect of my slate execution, which I developed quite out of necessity more than anything else…

So, you’re ready to start filming your self-tape, or you’ve just finished doing the scenes first – the order isn’t important. Either way, you’ve set your camera up LANDSCAPE and LOCKED OFF with some decent lighting and a BLANK WALL BACKGROUND. I capitalise but will not dwell on these self-tape essentials, because you really must master those easy-to-master specifics of this process. 

You film your slate – cakewalk! These days a full body shot is usually requested by casting, so my next step is always to move my camera (my phone) a little further away, turn it to PORTRAIT, and lock it off. Then I film a full body shot this way. Next, I upload the clips and edit the slate and the full body shot side-by-side as you can see below…

I personally use Final Cut Pro X to edit my tapes, but it is purely a preference. You can also achieve this result in other editing programs. I also mimic the slates we would do in the actual audition room by turning from right to left in both my close up and long shot, and even present both sides of my hands if requested. 

In truth, this personal method was somewhat an accidental discovery, spawned from frequently having no one to stand behind the camera and pan it up and down. Some might call it a waste of 2-3 minutes in editing, but I do it for every test and consider it just part of the job.

Conclusion

Remember actors, you are asking for employment here. Don’t make it harder for them to see you as the professional you are by submitting something that looks less than professional. They often call it a “SELF-TEST” for a reason. Think about it…

Want to dive deeper into the art of self-taping? Check out our complete online crash course on self-taping! Available to members, join here. 

The post How to do a Slate for an Audition appeared first on StageMilk.

An overview:

Have you learnt your lines? Really?

There is learning your lines, and then there is really learning your lines. I taught a beginners acting class recently, on our last rehearsal before our performance night, everyone came in feeling extremely confident about their preparation and every single person completely blanked when they got on the floor to do their piece! This happens to everyone, you think you’ve learnt those lines, and then you get up onstage and next thing you know, your brain is utterly blank!

Once I feel like I have learnt my lines well, I like to stress test myself. I will do my lines while doing very slow squats or pushups. Can you do all your lines while holding a bridge or plank? Think about it, as soon as you walk in the casting room your body is going to be under stress, you need to be able to perform under these conditions, so make sure you’re working in physically intense situations into your preparation to really get those lines into your body, not just your brain.

Check out our video guide for learning lines here.

Have you made interesting choices?

This is absolutely key, have you made interesting, unique choices for your character in this scene, that are firmly grounded in the given circumstances of the scene? Have you broken it down, worked out what your character wants and found the most interesting way to get there? Think about it from the perspective of casting, they have 30 people coming in who look, sound and energetically present similar options to you right? How are you going to distinguish yourself from that pack?

You’re going to do that by making interesting choices with your lines, your physicality, your relationship to the characters environment and the tactics you employ to get what you want. Tips and tricks here, but I find ideas like, is someone in the room next door that you wouldn’t want to hear this conversation? That helps me keep my volume down and intensity up in film and TV auditions. Or does the room you’re in have a particular significance to you? Is there a way you can make a different choice on a particular line to give the scene a different aspect? Play with it! Work with a friend and see what you can come up with! This doesn’t mean throw all sense and sensibility out the window, make sure you’re still honouring the writers intentions, and not just making a crazy choice for the sake of making a crazy choice.

Read this for more on making great acting choices. 

Do you know what the heck you’re doing?

Your job at an audition is much more than simply learning your lines and making one or two interesting choices. You need to spend some time doing some other preparation so you know what the heck you’re doing! This involves breaking down your scene/scenes – everyone does this differently, but some key things to think about and work with are; objectives, stakes, obstacles, actions, beats and the big one – given circumstances. Casting is looking to see a fully-fledged character emerge in front of their eyes, that’s how they know who to cast in the role. Discover your own take on that character, and go with your instincts. If you have no idea what’s going on in the scene, ask your agent for more info, or make an educated guess and run with it. And finally, there’s still some more preparation work to be done which doesn’t involve backstories and scribbling on your script. What are you auditioning for? Is it TV? Film? Is it a remake, or an original, or an adaptation? Who’s casting it, who’s directing, producing, who else have they cast? You need to be little detectives, and mine the internet for any skerrick of info you can find! All of that info is going to inform your choices in the room. E.g. you might find out that this is an adaption of a comic book series, of which you’ve never heard of. What are you going to do? Go and find that comic and start reading! Get your hands on as much information as possible, to give yourself the best chance. There is a different between an actor who walks into a casting room, who knows exactly what they’re doing and goes for it. Those people book work, because they’ve done the work, they go the extra mile and that makes them brilliant actors and storytellers.

Are you warmed up?

Trust me on this, you do not want to go into an audition room cold! Make sure you do a warm up before you go in. Even if you have to wake up extra early to do so! Waking up early freaking sucks – I know, but it’s worth it! Never done a voice warm up before? You can check out some helpful resources here and here. A voice teacher once described the difference to me of being warmed up and not being warmed up as follows: it’s like the difference between crystal and glass. They are very similar but you know which one you’d want in the display case.

Have you planned your outfit?

This is a delicate balance, you don’t want to turn up in doctors scrubs to a casting room. That makes you look more like a crazy person than an actor! Or a full suit of armour for Gladiator? No thanks. What you do need to do is give an element of the character in the way you present yourself. Dress for the character not the scene. Whether that’s a collared shirt done up to the top button for a priest or a suitable dress for a 1950s housewife, a suit jacket for a business person – whatever. It’s important to hint at character in what you’re wearing, without going overboard. I have known some actors who did go overboard, and they got the role. But I’ll tell you know, it wasn’t what they were wearing that booked the role – it was their performance. So a slight nod to character, but not necessarily full costume. For more info on what to wear to an audition, click here.

How are you getting there?

The logistics of the situation are often the very last thing you think about. Next thing you know you’ve missed your train, jumped in an Uber, got lost in traffic, ran down the road in the rain and arrived late, puffed out and extremely apologetic. Don’t do it team. Learn from my mistakes! Plan how you are going to get there, where you are going to park, what bus you are going to take and whatever else may pop up! Know exactly how you are going to get there and put that plan in motion to avoid any craziness on the day. You want to be there between 10 and 15 minutes early so allow time for that too. For an actor, auditions should always take priority. Whilst it might seem like a hassle to reorganise your whole day in order to arrive at your audition on time, dry and without stress, if you want this career, you have to make sacrifices in order to get what you want.

Conclusion

That is the list of the key things you need before any audition! If you have any others that you would like to add why not comment below! Hopefully you have learnt a bit from my mistakes and you’re ready to go out there and take on the world! Good luck folks!

The post An Audition Checklist appeared first on StageMilk.