You get up at the nasty time of 4am, down that cold coffee you tactfully left beside your bed last night and jump in the shower. After spending way too much time choosing what to wear (which you should have done the night before), you pick something and freshen up to look your best. In the car, you get a little nervous for the day ahead, but you decide to flick on the latest “An Actor Survives” podcast that features that guy from Stage Milk, just to get in the head space for what’s to come. After much deliberation, you arrive at the film set. A sacred place.

It’s where the magic happens, after all. A little knot appears in your stomach. Excitement, perhaps? Or fear? Most likely a bit of both. You walk on set expecting other tired souls, but you’re wrong: the place is alive! There’s a buzz in the air as all sorts of people run around or pace with urgency. You try to stop someone and ask where to go; they vaguely point in some direction without breaking their stride. Lucky for you, someone notices this lost soul wandering around on set. You feel a wave of gratitude as they lead you to where you have to be. You let out a sigh of relief. “Phew!” you think to yourself … followed by “What do I do now?”

Well, that’s easy. I’ll run you through it.

On Set Chaos

Within the first twenty minutes of my first day on a feature film I got lost, met Dwayne “The Rock” Johnson, tripped over cords and got yelled at for coming back to set without the coffee order (even though I explained several times that, no, my name is not Jared and no, I don’t know anything but your caramel-pumpkin-spiced atrocity you call coffee. Wow). This sounds like a tall tale, but this literally was it.

It was the first time I saw a big film set up close and I was lucky enough to be a body double on a feature film for three months. Some of this might sound like a brag, but I promise you it is not: how I survived without getting into too much trouble, embarrassing myself too much or getting fired, was simply due to my common sense.

Being on a film set can be hard at times, and confusing, and whether you like it or not you’ll probably make a mistake or two. That’s the bad news. Good news is that in the next few sections, you’re going to learn from my own (and others’) many mistakes, so you don’t have to make them yourself.

To Do or Not To Do?

How exactly to behave on set will depend on what role you have on it. For example a director is going to have infinitely more freedom (and responsibility) than an extra, who will have a very different role to an AD who will have a different role to, well, you get the point. However, for the sake of scope in this article, let’s say you are not the director for a large feature film and are either an actor, extra, or body double. Although I like to think this could serve anyone on set.

Let’s dive in to the do’s and do nots:

How to Behave on Set

1. Learn Everyone’s Name

This is especially important if you are on set often, or contracted for multiple months. It’s one of those common-sense points that sounds painfully obvious, but you will be shocked just how often people don’t bother to remember the names of crew and extras. So it’s particularly nice when someone does take the effort. On the flip-side of this, don’t be offended if someone does forget your name. There are hundreds of people on-set over the span of filming. Not everyone is going to know who you are and that’s okay. They can’t all be perfect like you!

2. Be On Time

Once again, this sounds like common sense, but here we are. You are but one part of a huge, busy machine. If you are not there when you are needed, the best case scenario is that they will move on with out you. The worst? They do wait for you, costing them time and money and ensuring that an entire crew of 100+ people will never want to deal with you again.

There’s a delicate time crunch that is apparent on every single set you will ever find yourself on. Arguably, this crunch contributes to the vitality of a film set—keeping the action feeling static despite the actors having to do the same scene over and over.

Also, before you start thinking of a good reason that you might be late (why are you still running late?!), know that it doesn’t matter. Sorry to be blunt, but nobody cares. Traffic was bad? You shoulda left earlier. Car wouldn’t start? Still not their problem. Train was late? You had a headache? Your dog ate your homework? Some people say: “I always end up sitting around on set for hours after I arrive, anyway!” Frustrating, sure. But still not a valid excuse.

It is always regrettable to be late. No one ever regrets being early to set. Do your future self a favour and banish the snooze button. Oh, and remember: being on time means arriving early, arriving on time is being late.

3. Respect Everybody. Always. Forever.

I’m not going to lie, this is just great life advice! But I will narrow it down to film sets.
Overall, before you make your way on set, ask yourself the question: “How do I want these people to remember me, and what kind of vibe do I want to give?”

It’s easy to build an ego as you start getting more roles and move your way up the proverbial acting ladder. However, this doesn’t make you better than everyone—arguably anyone. I have seen it happen and it is not a good look.

Everyone on set is important in their own way: no more than you, no less than you. Don’t let your success go to your head. Also: never forget that people talk. If you decide to be rude to a PA when no one is around, you can make a safe bet that everyone is going to know by the end of the day. Behave as if the director is always watching, because in a way, they are. It’s cool to be kind.

4. Be Awesome To Work With

Shocking. I know, but it’s true. People who are awesome to work with get called back for more work. They are also the people who get promoted on set when a larger role becomes free or opens up. How do you do that? Well, following this article is a good place to start! On top of that it’s just about being a friendly, kind and personable.

Bettering your social skills is a great place to start. Being approachable and connected to those around you: present. Be open to a chat on set (when appropriate) instead of scrolling on your phone for half the day. Social skills are just that: skills. They can be learned and improved.

The To Not To Do’s

1. NEVER Complain

See how I put “never” in caps? For Real. Don’t do it, homie. Do. Not. Whine.

People don’t want to hear it. At least, they don’t on set. If you had a rough day, vent about it after work, not during. This is especially true if you are an extra, body double/stand-in or yes, even an actor. Why? Because whatever “problem” you are dealing with on set is nothing compared to what the crew have had to deal with that day. You had a 6am call time? Well the crew was here at 4am. You finished late? The crew are still packing down while you’re on the train home. It’s also just not constructive. It’s not helpful to anyone, including yourself.

Now I know this is coming off a little harsh, but I am not writing this just because I don’t like negative people. I am writing this for your benefit. Complaining on set is a surefire way for you to stop getting calls to work, only to be replaced by someone else who has a better attitude. A million girls would kill for this job, so make sure you secure it by being grateful.

I am not saying that life on set will always be sunshine and roses. There will be some really hard and trying times where you will face challenges. But being grateful and having a good attitude as you face these challenges will make you feel more satisfied with your work. Embrace the challenges on set, don’t complain about them.

Of course if something happens that is actually serious, tell one of the AD’s or safety officers. Having a whinge because you had to get up at 5am that morning is very different to venting your grievances because a lighting equipment fell on your head or a cast/crew member’s conduct was inappropriate. If you are unwell, unsafe, or feel uncomfortable, talk to someone.

2. Do Not Touch Anything

If it’s not something that you brought from home, then do not touch it. Even if you are trying to be helpful. We’re all guilty of this, even me! Once, I moved an expensive-looking piece of camera equipment that looked like it was going to fall over if it stayed in its place. This resulted in a very upset crew member who could not find what they needed, which then resulted with me getting a stern talking to. Try your best to refrain from touching anything. Stay in your lane, do your job, and let others do theirs.

3. No Photos

Do not take photos on set. Not only will it be more than likely against the NDA (Non-disclosure Agreement) that you signed, it is not a good look.

Breaking an NDA will result in you getting fired on the spot, and the likelihood of you being blacklisted from future productions will be greatly increased. But you also don’t want to be known as the person who got fired on set because you decided to take a picture of Tom Hanks mid-scene. He’s at work, too. Why would you harass the Nicest Man In Hollywood?

Lastly, it makes you come across as green: a gawking amateur. If you want to take a totally cool selfie for your Myspace (or whatever people are on these days), do it before or after your shoot. Not during. You really do not want to be that person. Which brings us to…

4. Please, Do Not Ask For a Picture

I even said please, this time, because I am begging you: don’t do it. You just saw the Margot Robbie eating breakfast at base unit? Put the phone down. Actors, even famous ones, are still human beings. Respect their space, process, time and energy.

It’s also another good way to get you fired. I have seen it happen with my own eyes: somebody ran straight up to the legend himself, Dwayne “The Rock” Johnson, and asked for a selfie as he was preparing to go into a scene. Sure, he was super nice and obliged (he is that cool!) But the second they got back to their position, they were escorted off set and never heard of again. They would have lost months of work, all because they wanted a selfie.

If you do get a chance to talk to a notable actor, director, writer or what have you, ask them an interesting question instead. You will gain much more value from the experience of meeting them if you ask something like what they’re reading/what daily habit they’d recommend than asking for a picture. Again, you don’t ever want to look green. These people are your future colleagues.

5. Do Not Network

The film set is a place of work, not a networking event. Trying to hit up the director for a role whilst they are trying to work is a better way of pissing them off than getting them to hire you.

Ironically, the best way to network is by not trying to network. If you want more work, all you have to do is your job, and do it well. Be present: connect with those on set with the purpose of simply connecting.

If you talk to everyone with the hopes of “networking” and trying to make a contact, you will (with out meaning to) come across as disingenuous and desperate. Not a good reputation to have. Connections are made by being interested with the person you are talking to, rather than being interested in what they can do for you. Network by demonstrating on set that you are a professional who is easy to work with.

Above All… Be Professional

This is, once again … obvious (you thought I was going to say common sense, didn’t you?) However, what one person deems professional, another may deem appropriate behaviour. Or simply what their privilege and status allows them. All the hints, tips and tricks listed above breaks down what it means to be professional on set.

At the end of the day, you must remember that this is a job. And if you do want to have an actual career within the film and TV industry, you must treat it as such. The best way to learn this is to be on set as much as you can, which is why it is always recommended that actors start off as extras when they are trying to break into the film and TV world. Have a low-stakes job on set, which then gives you the freedom to observe and learn how the film world operates.

When in doubt and before you do anything, ask yourself these questions:

1. Is this part of my job?
2. Does this action help me do my job?
3. Am I acting like a professional?
4. Will this hinder or distract someone from their job?
5. Am I being respectful right now?

It can be an uphill, hard-fought battle to even end up on a film or TV set. For many, it is a long and sought-after dream that consumes years of their professional lives. Don’t shoot yourself in the foot just as you get what you want by not having good film set etiquette. At the end of the day, people that are profession and pleasant will always get called back for work over someone who doesn’t use their common sense (actual last time, I promise).

I hope these hints, tips and tricks will serve you well on your path. And remember: stay hungry my fellow actors!

The post Film Set Etiquette appeared first on StageMilk.

A bit of background

Hey, so, I’m an actor first and foremost. I have a limited amount of technical understanding about filmmaking and camera technique, but I do have experience in acting on film sets for the camera. One thing I’ve been considering quite a lot recently whilst watching films, but also while reflecting on some of my own on-screen work, is that there aren’t many resources out there for learning about how the camera lens affects our performance. This knowledge is usually learnt through on-set experience, which is great and invaluable, but I want to take a shortcut here, and make sure you feel as though you are prepared to go on set and do your job even if you have a limited amount of experience under your belt. 

This curiosity about how the camera lens affects our performance has come from two things: watching actors who seem to thrive in the frame, and moments where my work seems stifled by the frame. What it’s taken me a little while to learn is that all the choices the director and DOP make in regards to capturing the scene: the lens, the angle, the focal length etc – all have an impact on my performance. Just like with any performance, I need to understand my audience. And when it comes to working on a film set, the camera is my audience. I need to perform for it – and to do that I need to understand what it sees. Let’s begin by talking about the standard way directors and DOPs cover a scene, and come to understand how this process affects our performance.

Skip to:

• What is Coverage?
• The Wide Shot
• The Medium Shot
• The Close Up
• The ‘Special’
• Finding Your Frame

What is Coverage? 

The word used to describe the process of filming a scene time after time to capture it from each desired angle is ‘coverage’. The filmmakers are literally ‘covering’ the scene with eyes and making sure they have every angle they could possibly want for the edit room. This process turns acting for the camera into a very unique task for the actor. The actor must be able to repeat their performance countless times whilst retaining both the blocking of the scene and the sense of newness and spontaneity within it. It’s no simple task.

A very simple and commonly used shot list for covering a scene with the camera is the following: Wide shot, medium shot, close ups and specials.

The Wide Shot 

About the shot: Coverage of a scene will usually begin with a wide shot. This is how it works: a shot on a wide angle lens (usually 18-35mm) capturing the scene as a whole. The frame this shot produces will contain much of the setting of the scene and the actors in the scene. This shot can serve as a ‘master’ shot for the director and editor; it’s a shot to refer or cut back to in the editing room, one that captured all of the action.

How does the wide shot effect the actor? Two things are important to understand about wide shots and master shots. 1. There is room to move, and 2. Make sure you’re happy with your physical choices. 

Firstly, it’s important to realise that there is room to move and be physical whilst acting on camera, particularly on a wide lens. One trap I’ve fallen into is ‘shrinking’ my performance moving when from stage to screen, because I assume any movement will be too extreme in the frame. Wrong. Once we get down the shot list into close ups and ECUs (extreme close ups) then yeah, sure, we’ll reign it in. But for now, allow as much freedom of movement and physical expression as you and the director feel is appropriate for your character. The camera does respond well to full gestures! The amount of times I’ve watched my work back in pain because of my half-baked physicality. I’d go to point at someone or something but only half the gesture would be there. I’d go to spread my arms wide out to the sides but I’d only lift them halfway for fear of being too big. Move past this limitation, Jack! The camera wants to see the full range and reach of your physicality, just like the audience does on stage! Ok pep talk over, sorry about that, folks. Writing these articles is good for my development as an actor, too. When the filmmakers are shooting on a wide lens, or from a distance, allow your physicality to be larger. If they need you to reign it back in, they’ll tell you. 

However, what you need to understand is that since this shot serves as a master reference shot for the filmmakers, you need to make sure you’re happy with what you’ve done physically in the scene so you can stick to those choices for the rest of the coverage. Once your choices are made in the master wide, the person on continuity will be on you like a hawk if you start to make new choices later on down the shot list. 

The Medium Shot

About the shot: A medium shot (Mid, or MCU) is where the filmmakers start to capture the individual performances of the actors. The shot is usually captured on a 35-50mm lens, so if you hear the DOP using those terms you can be pretty sure you’ll be in a mid-sized frame. Each character in the scene will get their own mid and close up in the coverage of the scene. This means the shot list can get pretty lengthy. If you’re doing a scene with 6 people sitting around a dinner table, you might be there for a while doing the scene a LOT of times! Get comfortable. Manage your energy. Depending on the lens used, the camera might be close to you or far away from you. What’s more important for you as the actor to understand is what the frame is. Professional actors will frequently be asking ‘what frame am I in?’ to understand the borders of what the camera is seeing in order to tailor their performances as such.

How does the mid-shot effect the actor?  Get comfortable with asking the question, “what’s my frame?” A mid shot can vary a lot, and different filmmakers will have a different definition for a ‘mid’ – some wider, some closer. You, as the actor, have the responsibility of asking the right questions to determine how much playing space you have for your performance. A mid is tricky; you’re closer in than you were in a wide, but you’re not super close. This means you have a bit of playing space to be physical, but also are required to reign your physicality in a bit. 

The Close Up

Ah, the close up. We actors place so much pressure on ourselves when our close up comes around. There’s nowhere left to hide; all that’s left is us and the camera, staring into our soul. It’s good fun, right? 

About the shot: Functionally, a close up does what it says it’s going to do. It gets close to the subject, drawing the audience’s focus into them specifically. Filmmakers will use a lens longer than 50mm for shooting close ups. The frame of this shot will focus on the actors face and eyes, usually used to heighten the emotional and internal experience of the character at that point in the scene.

How does the close up effect the actor? Again, know your frame. The frame of a close up can vary in size, and the definition of what a close up/ECU (extreme close up) is between different directors may vary. Additionally, just because the shot is a close up does not necessarily mean the camera will be close to you. In fact, it’s more likely that the camera will be further away from you shooting on a long lens, giving a nice depth of focus to the shot. In this case, it’s extra important to know the size of your frame. The camera might be a few meters away from you, but the frame might just be on your face, forcing you to restrict your movement drastically. 

The ‘Special’ 

A ‘special’ refers to any scene-specific shots the filmmakers wish to capture in coverage to make sure they have got all the story-telling elements of the scene covered. This could mean an ECU on a prop that you’re handling, or a cutaway to something else which is happening in the room whilst the scene takes place: a clock ticking, for instance. The need to capture these shots may have arisen whilst you were covering the earlier shots; a choice you make might’ve informed the directors need to capture that action specifically. All that you really need to know about these types of shots is that you may be directed quite prescriptively within them, and that’s ok. You don’t necessarily need to channel all your performance into these moments, just communicate clearly with the director to be able to give them the shot they wish to get.

This has been an oversimplified breakdown of a shot list. If you want to know more about which shots may arise when covering a scene, this page is pretty darn comprehensive: Ultimate Guide to Camera Shots 

Finding your Frame

One of my favourite phrases from an acting teacher of mine was, ‘take care of the structure and the content will take care of itself’. This rule applies to us when we’re acting for the camera. The shot used, and the frame it creates for us, becomes our structure, and this structure dictates the content needed from us within it.

I was interested in writing this article because I wanted to make sure actors felt more freedom in their early on-set experiences than I did. Looking at my early on camera work, my close ups are often fine, I seem comfortable within them, probably because these are the shots which are most similar to a shot used to record a self tape. Wider shots, however, (anything from an extreme wide through to a medium shot) left me feeling and looking unsure of what I had ‘permission’ to do. How ‘big’ could my performance be? 

I want to wrap up this conversation with a real-world example of what I think thriving in the frame looks like. This is a scene from Black Mirror, featuring Andrew Scott. Have a watch:

In this scene, Scott has perfectly tailored his performance to the demands of the frame. At the beginning of the scene, the frame is tighter, and we (the audience) are more closely drawn into the micro expressions on his face as he processes the information that his hostage is merely an intern. As this information drops for Scott’s character, however, the frame widens and allows for the full range of Scott’s physicality to emerge. Andrew Scott is a theatre based actor who thrives on film. He has complete confidence with giving a performance which would be big enough to go on stage in front of a 800 seat theatre whilst on camera. Scott understands how the camera sees him, and thrives in his understanding of the medium. 

Conclusion

I hope this clip and this exploration today has given you freedom and permission, rather than fear and restriction. Acting on camera does not have to be small or restricted, it can actually be quite physically large and expressive. What is required from us actors is that we understand the medium to the best of our ability so that we can tailor our performances as such. Just like you’d need to ‘find your light’ on the stage, the same goes for ‘finding your frame’ on camera!

The post Acting for Camera: How to Use the Frame (Framing Technique) appeared first on StageMilk.

The best auditions are authentic, vulnerable and connected performances where the actor shows us who they really are, under imaginary circumstances. This article contains some of those auditions, watch them and take note of what these actors do so well, to add that to your own work!

#10 Michael Cera – “Superbad”

Michael Cera is a massively underrated actor. The criticism he cops is that too often he is ‘playing himself’, but I think that is a massive strength rather than a weakness. The reason Cera has worked consistently across film, theatre and TV from the time he was a child is that he is not afraid to show the camera who he is and how he feels about the world around him in everything he does. He is vulnerable and authentic and most importantly, unpredictable in this scene. The way he turns on his friend, the way he uses sarcasm to attack is all really alive and grounded in impulse rather than a rehearsed choice that he looks to execute. He is wonderfully present here and importantly, he listens wonderfully to Rogen. His choices are unique, in the sense, they all genuinely come from him. So often, actors are caught trying to do something they think the audience wants to see, as opposed to doing what they would actually do if they were in that situation. Cera does all of this wonderfully here and Superbad was a colossal success partly because of his performance.

#9 Brie Larson – “Scott Pilgrim vs The World”

Okay, look: I love Scott Pilgrim vs the World, it’s one of my favourite movies, and the clip here from Brie Larson is super small but there is a reason it makes the list. The reason it makes the list is how much of a strong choice she makes here. She has created this heightened character that is this super cold, emotionless creature with this deep velvety voice. Can you imagine how bad this could have gone? So bad. This could have been a total disaster, but she nails it here. This is a great tape to watch to remember to back yourself and believe in your choices. If you go for a big choice and you believe in it, and importantly it is grounded in the text then you will be rewarded for your risk! Do the work, believe in yourself and when in doubt go for something more ambitious rather than less!

#8 Tom Hanks & Robin Wright – “Forrest Gump”

Two for the price of one. Damn, this is delightful. These two actors, obviously incredibly talented and these are more screen tests than they are first auditions, but there are a couple of things here that I think is worthwhile examining. The first and clearest thing for me here is tone: these two actors understand the tone of this film wonderfully. Their performances are genuine, spontaneous, delightful and impulsive, but they’re also hyper-aware they are not in a sitcom or something stylised like Brie Larson above. They understand the sensibility of the screenplay and look to bring it authentically to life in this moment. Additionally, their relationship is really clear. You understand exactly what they mean to each other at this moment. The combination gives them real freedom to play in the moment which is where we get so many of the truly delightful moments in this scene. Great stuff. 

#7 Shay Mitchell – “Pretty Little Liars”

And now for something completely different, Shay Mitchell found huge success in Pretty Little Liars; here, she shares her audition tape on Youtube. This is interesting because you get to see her live reaction to her own tape, it’s a great example of actors judging themselves really harshly. I think of every creative role in the world, actors give themselves the hardest possible time. Shay finds this tape really difficult to watch back, but it’s clear why she got the job! Her image work here is sensational, she really sees the world around her and ensures her eyelines are in the frame while she does it. She has a great connection to the text and a clear understanding of the relationships in the scene. As with the other tapes so far, you can see how authentic she is here, she isn’t trying to pretend anything, it’s really genuine! And her story of getting the job and that experience that she talks about at the end is heartwarming too, take a look!

#6 Adam Driver – “Girls”

It’s hard to remember a time before Adam Driver was a household name, but back before Girls, he was just a regular everyday guy like you and me. He was the first person they saw for the role of Adam in Girls and hearing Lena Dunham, the show’s creator and star, talk about him is sensational. While he does make a big physical choice in the impro (that is super risky and we wouldn’t recommend doing – especially not without consent from the other actor!) What I really want to draw your attention to here is the scene they do about texting when they are sitting down together. Watch Driver’s eyelines and images here! Check out his listening! The guy is so alive and present and authentic in his performance. Importantly though, he makes sure we don’t lose him for a second of this. We watch him listening to her, he hardly looks at her through the scene and when he does it is significant. We feel his aloofness, his intelligence and her anxiety and playfulness. The combination is exactly who these two characters are in the script. It’s a nigh-perfect example that it is not the acting that gets the role it’s the actor. You are already the character, you just need to show us who you are under these imaginary circumstances. 

#5 Ruby Barker – “Bridgerton”

Now we are starting to get to the point in the list where we are seeing actors combining the successful attributes of previous tapes and pulling it all together. Barker here has a wonderful understanding of the relationships between these two characters, the environment the scene takes place in, she uses images and eyelines wonderfully, she understands the tone of the show and delivers her performance pitch-perfect for the format. But what is most impressive, is that she comes off as empathetic in a scene where she says some very harsh words to her scene partner. The reason this happens is that because she is so authentic about it, she is not pretending anything in this scene! The way she challenges the reader here, she fights every damn minute for the status in the scene and refuses to back down is breathtaking to watch. A masterclass. 

#4 Dean Norris – “Breaking Bad”

I love this audition. If you have watched Breaking Bad (and if you haven’t, what the hell are you doing reading this article? Open a new tab. Find Breaking Bad. Watch it. Come back. Go. Go now!) If you have seen the show, you’ll know this is the exact same size, shape and type of performance that Norris brings to six seasons and a movie of this show. He is the perfect epitome of your alpha male, arrogant, annoying uncle. He thinks he’s a real hotshot, but somehow amongst all of his obvious flaws, he is very likeable. Norris here is incredibly authentic and genuine. We really feel like we are at a barbeque at his house listening to a conversation with him and his in-laws. The other thing that I love about this tape is that he makes a mistake! He calls another character, his own character’s name! And it doesn’t bother him at all, he just drives on through, total water off a ducks’ back. How many times have you got a name wrong in a script and it’s ruined the moment for you, or you have laughed at yourself, or you have started again, embarrassed with yourself? So often that ruins takes, Norris here pushes on and books the job with this! A wonderful example that it is the life – not the lines that matter. Brilliant. 

#3 Dacre Montgomery – “Stranger Things”

What, did you think we would have a list of great auditions and not put Dacre’s tape for Stranger Things in the list? Please. Who do you think we are? This is a sensational tape for a lot of reasons, yes he dances shirtless between scenes and plays some cracking jams but the real point here is his quiet intensity, and the incredible work he does with his eyes. Watch that first scene and take a note of when he blinks. By my count, in a 2 min scene, he blinks 4 times. We just do not lose his eyes for the whole time. The eyes are the window to the soul, if we don’t see your eyes it might as well not have happened, whatever the moment is! Montgomery does a sensational job of seeing the environment around him, being connected to imagery and staying right on his reader all while keeping his eyes open and in the frame. No one likes watching someone blinking!  Also, listen to how he uses volume! Montgomery knows the mic is going to be close to him, and instead of getting loud at the climactic point of the scene, he gets real quiet, and real threatening. It’s fantastic to watch.

#2 Gabourey Sidibe – “Precious”

Now this one, this one really choked me up. Gabourey Sidibe is nothing short of completely sensational in this tape, and what she gives us here is something I haven’t talked about in-depth yet: emotional connection and stakes. The stakes here are so friggin’ high, Sidibe has personalised the world and the information in the scene so much that it is genuinely affecting her in the moment. She is super raw here, super vulnerable and so connected to the emotional stakes of the text. There is not a moment of this where we feel like she is pretending, or acting or false in any way. It is all distinctly coming from her, it really means something to her, more than something it all means everything to her. Also, listen to the reader, check out how little the reader is giving her? She is working in tough conditions as an actor and absolutely excelling. This tape really affected me, my stomach clenched up, I teared up a little bit and it is just the freaking audition! Incredible. 

#1 Henry Thomas – “E.T.”

The O.G. of auditions. This is incredible. Let me set the scene for you. You’re Henry Thomas, you have auditioned for the lead role in the new Spielberg movie E.T. You get through rounds of auditions and it all comes down to this. You’ve done the scene a bunch of times, you are in the room with Spielberg, a reader, your parents and a bunch of other people from the studio. Spielberg gives you an improvisation, that the reader is going to be an FBI agent come to take E.T. away and you can’t let him. Off you go—oh,m,n and this whole time, you’re 6 years old. I don’t know what the actual hell I would do in that situation, but I can show you what Henry Thomas did, and it’s incredible. Relationships, given circumstances, objective, environment, eyelines, emotional connection, stakes, bold choices and a huge amount of authenticity, it’s all here. That voice you hear at the end? Yeah, that is Spielberg saying ‘Okay kid, you got the job!’ Sensational stuff. Enjoy!

The post Top 10 Famous Auditions appeared first on StageMilk.

Despite being a prominent position in the entertainment industry—the role has steadily risen in the esteem of the public and elevated many directors to celebrity status—it is easy to forget how many different hats a director will wear in a production, or how long they may spend on a particular film. This article provides a breakdown of the key elements of their role; however, because of the unique demands of each production and working process of each director, their actual list of responsibilities can vary.

Evolution of the Role

Directors have not always enjoyed such prominence in popular culture. For the first forty-odd years of cinema history, their role was seen as more of a technical undertaking—not without artistic merit, but more akin to how we might think of cinematographers in the contemporary landscape. Many of the early famous directors such as Charlie Chaplin were known to audiences as performers who stepped behind the camera. And despite their immense popularity, they all struggled with Hollywood’s studio system for production autonomy and artistic control.

As film-goers came to know and love the work of particular directors, certain names in the forties and fifties started to gain prominence; Hawks, Welles, Hitchcock, Wilder, and Sturges all began to define the director-as-brand image: one could buy a ticket to any of their films and understand, by way of their name on the poster, what kind of show they were in for. The sixties introduced ‘auteur theory‘ via critics and filmmakers in France, which established the director as the author of the film and the film itself a representation not of a studio’s money or production slate, but their own artistic vision.

This theory has generally carried through to today. It was idolised by the ‘movie brats’ generation of directors like Scorsese, Lucas and Spielberg who entered the game post-studio system, and was neatly compatible with the indie film movement that was birthed in the eighties, exploded in the nineties, and hums along as its own industry today.  Directors have always been iconoclasts: they fight against studios, systems and money men to tell their stories. And yet, most are striving for the kind of safety and status that can only come from a firm entrenchment in the film industry.

Pre-Production

Funding

While the funding of a film is generally the business of a producer, or studio, a director may find themselves attached at the conceptual stage of a production to help sell the project to investors. A director’s attachment may be name-only, or it may see them prepping material such as treatments or visual material to illustrate how the film will look and feel. Projects come and go, and directors may be attached to several projects at the funding stage that never see the light of day.

Logistics

When a film is green-lit, the director will work with the producer, assistant director (1st AD) and other production staff to plan out each aspect of the film: they’ll gather the required crew, choose filming locations and coordinate a shooting schedule. They’ll work to a budget and deadline, generally set by the studio, that adheres to a strict timeline of when the film should be released to audiences. As the director’s work on-set will often see them fighting these very things in order to capture the right performance or perfect shot, it is vital that they have a nuanced understanding of what things will cost and how much time they will take long before they step on set.

Casting

Generally, directors will work with casting directors to find a select group of actors to see for each role. Most directors prefer in-person auditions, although some have preferred self-tapes even before their current popularity in the industry (James Cameron was an avid supporter of the process as far back as Avatar). For directors with more career clout, they may approach actors directly—either those they know or have worked with in the past.

Design

A director must make sure that each aspect of production fits together in total harmony; to do this, they work with department heads across costume, set, VFX, and production design to ensure that all the separate elements of the film are telling the same story. While we tend to think of a film as a director’s singular ‘vision’ (auteur theory doing its work again), the sheer scale of a feature film means they actually collaborate with countless other artists to help build a consistent design language

Script Analysis

Perhaps the most important directorial job in pre-production: the director pours over the script and analyses every page/scene/line/word. This will help them realise the story (and filter their interpretation to the various department heads), break down the script for budgeting and shooting, and prepare them for directing actors. Even if a director is working from their own material, the same process applies; the ‘writer’ hat will generally be hung up as they begin to read the words they’ve written from a production standpoint.

Generally, this preparation culminates in storyboards and shot-lists prepared by the 1st AD who will also coordinate the call-sheets that tell everybody what they’re filming and when. However some directors, like Steven Spielberg, eschew the storyboarding process, preferring to step on set and find their shots in the moment.

Production

Directing Actors

On set, the director’s primary interactions will be with the actors. They will rehearse and block the actors’ movements for camera/lighting departments, help shape performances, build believable character arcs, and define the objectives and significance of each scene. As filming is generally done out of order (based on budget, location availability, and other external factors), they need to keep the entire scope of the project in their heads; all of the different pieces will need to fit together when it comes to assembling footage in the editing room. Sometimes their role is supported by a dramaturg, who will work with actors to contextualise the day’s scenes through close script analysis.

Directing Camera

The director will collaborate with the director of photography (DOP) to plan out each shot and ensure that it is properly captured. Despite what most people think about the role, the director does not directly operate the camera or yell ‘action’; most of their time will actually be spent behind a monitor, watching the scene play out and making adjustments by speaking to the 1st AD.

Working With the 1st AD

The 1st AD is the liaison between the director and the rest of the crew. They will help convey the director’s wishes, work with department heads to convey the necessary information, and ensure that the production is not falling behind schedule. If somebody needs to speak to the director or ask them something, they will go to the 1st AD. The role is vital on any large production, as it keeps as many logistical worries out of the director’s head as possible. This allows them to focus on the frame and support the actors.

Post-Production

Editing

In post-, the director will play an integral role in the editing of the film. While they do not physically edit the film themselves, they will sit with the editor and look over each scene to make sure it is clear and consistent with their larger artistic vision. Some directors take a more hands-on role with editing, and others are happy to let their editors work autonomously—especially if they are a long-time collaborator (editor Thelma Schoonmaker has been working with director Martin Scorsese for over fifty years). 

Sometimes, studio pressure can force directors to re-edit their films. While still a common practice for greener filmmakers, more established directors may opt to push back and fight for creative control. As directors gained greater public recognition in the latter half of the 20th century, we saw the emergence of the ‘director’s cut’: a re-release of an older film with scenes either added or removed to better serve the original artistic vision.

Sound

Just as they work with editors, directors will oversee sound design—including score composition, music coordination and sometimes foley. ADR (automated dialogue replacement) is a common part of post-production in which actors will re-record dialogue to sync with already-shot footage. This is commonly done because sound quality captured when shooting can vary, but it also gives directors the chance to tweak and tone performances after the fact.

VFX

Supervising visual effects production is becoming an increasingly important part of a film director’s process. It can range from approving a particular shot, or overseeing complex action sequences where the majority of the frame is composited or animated. As with other aspects of production, some directors favour practical effects over computer-generated imagery; however, the standard practice has shifted to the latter for reasons of budget, logistics, and the opportunity for increased creative control.

Conclusion

Film directors are leaders, visionaries, artists, and logicians. They work in a system haunted by the bottom line, entrenched in tradition, and one that historically responds so poorly to changing tastes it seems as though every decade has heralded its cataclysmic end. Perhaps it is for this reason that we regard them as inherently Romantic figures. Where most see an endless parade of planning headaches, budget constraints, and artistic compromise, film directors see the opportunity to say something and be heard. Few voices ring as loudly or as true.

The post What Does a Film Director Do? appeared first on StageMilk.

It’s easy for an actor to think of a role in a feature film as a kind of Mount Everest; for a lot of us, it’s a major goal for our careers that we are desperate to snap up. For that reason, having an audition or a self-tape to shoot for a film role can be rather daunting. But the truth is, self-taping for film isn’t actually all the different to self-taping for television or commercial roles. Most things you already know about self-taping will apply here.

That being said, we put together some specific things to consider when approaching your self-tape for film, as well as some general advice to put you in the best position to be considered for the role. We’re going to assume you know some of the basics of what a self-tape is and how to make one, but if not, never fear! You can check out our beginner’s self-tape advice here.

Read more: Top 6 Game-Changing Self-Tapes

*Note: Self-Test and Self-Tape are terms used interchangeably – they both mean the same thing. 

Pimp Your Set-Up

First things first: let’s make sure your self-test set-up measures up to industry expectations.

Here’s the good news: these days, it’s not necessary to have a bunch of expensive gear to make a self-tape. A few years ago we might have recommended investing in a decent video camera, but it’s 2021! We all have a high definition video camera in our pockets, so why not use them? In fact, casting agents now expect your self-tape to be shot on a smartphone, so don’t feel you need to drop major dollars here. But if you do want to drop some cash, here’s our Professional Self-Tape Set-Up Guide. 

You might want to get yourself a tripod fitted with a smartphone mount so you can set up your shot easily and quickly. You should be able to find some cheap options online. Otherwise, you’ll be stacking books on top of boxes on top of chairs to get the perfect shot… not fun.

Read More: $250 Self-Tape Set-Up Guide

What about your backdrop? The key to a good self-tape backdrop is having a single block colour without anything distracting in the shot. If you have a nice big blank wall in your house – fantastic! But a lot of us are living in smaller spaces, and if your wall has a clock, or a picture frame, or even a nail or chipped paint visible then that can look both unprofessional and distracting to the casting agent viewing your tape. It’s useful to have a foldable blue screen to use as a backdrop – these can be found on eBay/Amazon for very cheap.

Here’s a tip: cheap blue screens like this tend to have visible creases which can look a little sad. A clothing iron on a low heat setting can take care of those and smooth out your screen for you. Oh, and if you’re using a wall in your house, you’ll want something in the realm of cream, grey or blue – a hot pink wall may look fabulous but it’s probably not appropriate for your self-tape.

Let’s talk lighting. This is often the trickiest element to get right. Your aim is to be lit from the front and to minimise shadows on you and your backdrop. Once again, eBay is your friend, and you can find some very affordable light boxes with stands (having two is a good number) for very cheap. Setting one up either side of your camera/phone and directing the light towards the subject (you!) is the basic way to go, and should help to eliminate some shadows. However, space might be at a premium and not all of us can afford to be dropping our hard-earned on a whole bunch of gear, so if you can’t get your hands on some lightboxes, you might want to aim to shoot during the daylight hours and utilise any sunlight that’s available to you. Remember, it doesn’t have to look like a Vogue cover shoot, just try and reduce those nasty shadows as much as you can.

Read more: Biggest Self-Tape Mistakes! 

Do Your Research 

It’s wise to take a researched understanding of the type of film you’re auditioning for into your self-tape. Film is a vast medium that spans a huge variety of styles and genres. Knowing exactly what you are auditioning for is vital.

One thing to consider is the filmmaker/director themselves. What works have they made in the past? Can you identify any stylistic markers that they tend to use in all of their work? What kind of actors do they like to work with, and what is it about those actors and what they bring to their roles that this filmmaker seems to like? What genre do they work in and what is their approach?

Looking into these kinds of questions can help you pitch your performance is the right zone for the film you are taping for.

Take Your Time

If you can forgive the generalisation, film tends to take more of a nuanced and in-depth look at the emotional life of a character than the plot-driven world of television or the product focus of advertising. It’s important to take a similar approach to self-taping. If you can, set aside plenty of time to spend on your self-tape, so you don’t have to rush.

Actors are, for better or for worse, idealistic and ambitious beasts. We all love that feeling of nailing the scene, one take, that’s a wrap, see you at the premiere. However, this can be our downfall, an approach that can ultimately limit us. It might be useful to think about this: rather than trying to nail the scene on the first and every take, use the first few attempts at it as opportunities to play with the scene, to mine the text for clues and given circumstances, to make discoveries. Think about what you learn from the scene by doing the scene, what details and texture you can add. Using this kind of approach, if you compare your first take to your tenth, you’re sure to notice a striking difference and improvement in your performance. As actors, we often carry an instinct to try and ‘get it right’, but if you can remove this pressure from yourself, you’ll open up space to play, learn and really take ownership over a scene. And, as a bonus, it’s likely going to be way more fun this way!

So, instead of asking yourself, “how can I nail this scene”, try asking, “what can I discover by doing this scene?” and trust that the right take will come.

Think Outside The Box

Have you ever had your first look over a scene you have to self-tape and think, “oh, great, I know exactly how to do this”? Well, while it can be good to trust your first instinct, it’s likely your initial reading of the scene that you’re taping is very similar to, well, everyone else’s. 

The best film acting often challenges our perceptions about how a person might react to a situation, and our favourite actors are those who turn out surprising and unexpected renderings of a scene. This is what keeps us interested and curious to see what happens next. 

You can take this idea into your self-tape. What happens if you play the scene entirely against your first instinct? What happens if you flirt where another actor might humiliate? What if you try and take the higher status in the scene, even when your character is written to be of lower status? As long as it is within reason and you feel it can be justified within the context and given circumstances, you’d be surprised at the scope of possibilities for how a scene can work.

Once again, if you go into it leading with your sense of curiosity and discovery, you’re bound to find unexpected and interesting results in your work. And that is the type of stuff that casting agents love!

Preparation and Performance

Like we mentioned earlier, your work in front of the camera is largely the same whether you are auditioning for television or film roles. So all the basics of preparing for your scene apply to self-taping for film: script analysis, given circumstances, beats, shifts, etc. All of that good stuff will be useful here as well.

That being said, film acting is generally considered to be on the more subtle, internal and nuanced side of things, so while you don’t want to alter your work too much, you might consider tweaking your performance in this direction, provided it still suits the style of the film. For this reason, you may want to consider shooting a couple of takes in a close-up and see what that does for your performance, particularly for a scene with a lot of emotional weight. The rule of thumb for this is the more close up the shot, the “smaller” your performance needs to be, as all those minute movements in the face and voice will read as larger. It might be useful to give this a try just to see the results, it may spark ideas for ways to play the scene that you hadn’t considered. One trick you can try here: what happens if I play the scene and do absolutely nothing with my face? It may give the scene a power or an emotional quality that you didn’t expect.

The casting agent may have specified a particular shot size for your self-tape, for example, a mid-shot. If you’re keen to send in your subtle, internalised, close-up version, make sure you send a version in a mid-shot as well. Never disobey the Casting Director! 

Sleep On It

It’s well known in the scientific community that sleep is one of the major factors in the brain creating and consolidating memory. This is a vital thing for actors to understand, as getting at least one good night’s sleep after learning lines and working on a scene will assist you greatly in getting those lines and those inner thoughts alive and in your body. When you’re finally lining up in front of the camera to shoot your self-tape, you want to know that those lines are now part of your actorly DNA and sleep is a major factor in this regard. If you can, start learning your lines the day you get them and make sure you are getting a very good sleep each night before you decide to shoot your tape. It’s especially helpful to review those lines just before you head off to bed, so they’ll be fresh in your mind while your brain does its thing during your well-earned shuteye. 

The Final Product

Once you’re happy with your self-tape and you’re ready to send it off, take a moment to put together the video file with all the usual things a casting agent expects when submitting a tape; a clear and simple title card with your name, agent and the project and character you are testing for; a nice fade to black or cross blur transition between multiple scenes; a chat to camera or ‘slate’ at the end of the file where you state your name, age, height, agent and any other details they may ask have asked for. Simple software such as iMovie can do all this stuff easily and if you haven’t, it’s good to take the time before your next self-tape to learn how to use your video software of choice in order to put together your next tape efficiently and quickly.

If you have two or more different versions of the one scene, it’s more than okay to send them both in (keeping them all still in one video file for ease of use) to give the casting agent some options. In your final video file, be sure to use title cards between these different versions to differentiate between them (“version one”, “version two”, etc) and of course make sure your favourite one goes first! If you’re unsure whether it’s okay to send multiple versions, feel free to ask your agent or the casting agent if you can send two or more versions. It’s also good to check this brief, as the casting agent may have already asked for multiple versions. Always make sure you follow their instructions carefully, it will make their jobs much easier and you can bet they will appreciate and remember that!

And finally…

Be Kind

…to yourself! Self-tests are hard, they can be stressful and anxiety-inducing, and we actors can be obsessed with ‘getting it right’. And then add onto that the fact that film roles are a bit more sought after and suddenly we can be piling huge amounts of pressure on ourselves. It takes practice to not always put pressure on yourself, but you can get there. Take a breath, take your time, and try and reconnect with your sense of discovery.

The more you do self-tapes, the easier they get, so take your next self-tape as an opportunity not only to get to do a bit of acting and to have a play but also an opportunity to get better at self-taping! Remember: you have time, and more opportunities will present themselves down the line. 

Oh, and did we mention: have fun?

The post How to Self-Tape for Film appeared first on StageMilk.

How to Get Feature Film Auditions 

Before we get stuck in to acting for film, we need to start from the very beginning… Unless you are particularly fortunate, you are going to have to audition to land a role in a feature film. If you’re reading this article, it’s unlikely that anyone is simply going to offer you the role and hire you straight off the bat. Wouldn’t that be wonderful though? What a treat, what a dream!

Do you have an acting agent?

Okay so first things first, how to get a feature film audition. If you have an agent, they will be the one to secure auditions for you. You will receive an email with details of the production, material you need to prepare and instructions for the audition. Too easy, all you have to do is follow instructions, and start your audition prep. 

That being said, not all agents are created equal. There is a definite, mysterious pecking order of agents in your town. With the most established, best known ones getting more casting opportunities than their counterparts. Long story short, you want to be with the best agent you possibly can in order to maximise your chances of getting great opportunities. We have a full article on how to go about getting an agent. 

Please note (because we do get asked at least once a month) StageMilk is NOT an acting agency. We write articles and create content to help you get an agent, hell we even have an online scene club where you can work on some material to approach agents with. We cannot book you gigs though! PSA over!

Casting Billboards:

If you don’t have an agent there are a range of websites to check out that host auditions for freelance actors. Here’s a list of the most reputable casting billboards out there:

• Casting Networks
• Backstage
• Mandy
• Actor’s Access
• Spotlight
• Starnow 

Note: these platforms are not all international, so you may need to do some research to find the reputable casting sites in your country/city.

Some of these casting billboard require you to pay a monthly fee, and other’s don’t. Do your research, and find out what the best platforms are in your region. It’s no use signing up to all of them, if they’re not posting relevant opportunities for you in YOUR city.

It’s important to note that NOT all the listings on these pages are legit. It’s very important that you trust your gut when dealing with the posters of these ads. Think of these pages like Craigslist or Gumtree for acting jobs. Some of the people there are legit creatives making passion projects with limited resources. Some of the people on there are bonafide creeps and charlatans being awful. The only person who is going to be able to separate the wheat from the chaff here is you. So interrogate each of these ads fully, check out peoples IMDB credits, see what they have done in the past. If they’re telling you they worked with Tarantino on his last movie but you can’t find them on the internet, I would be suspicious. 

Detective Work:

Your other option is to do some solid detective work, and send out cold emails to casting directors to get feature film auditions. BUT make sure that you are acting in a professional manner at all times. The internet is a wonderful, scary place – you can find information on upcoming productions by being smart and with the help of some prior industry knowledge. Make sure you’re always up to date on what’s happening in your local industry. What’s shooting right now? What’s scheduled to shoot in your area coming up? Who are the major industry players? Who casts big budget Feature Films in your city, who casts small budget feature films in your city?

Hypothetical Scenario: Say for example, you live in Vancouver, and you know that the 7th season of The 100 is scheduled to shoot in Vancouver in a couple months because you’ve done your research on IMDB Pro (which we HIGHLY recommend getting) and The Hollywood Reporter etc. Now, it won’t do you any good to email the network (CW), or the production company (Alloy Entertainment) – neither of them are going to be able to help you get an audition, and they will likely just ignore your email. If you have an agent, email your agent, mention you’re interested in the show and the filmmakers, and that if any role comes up that’s appropriate, to let you know and you’ll be happy to tape. If you don’t have an agent, you can send an email to the casting director for The 100 in Vancouver – but, only if you’re absolutely confident you can nail the audition, should you get one. You need to back yourself 1000% before you start cold emailing casting directors, and know that your acting and your toolkit is the best it can possibly be at this point in time. If you’re new to acting, have done 1 or 2 classes, and that’s it – I would not recommend cold emailing anyone yet. You are not ready, and you risk making a poor first impression.

For all of the above options, you undoubtedly need your acting toolkit in order and up to date. You need an incredible headshot, a banging showreel and a CV. This industry rewards actors who behave as professionals, who are always training and working on their craft and who have a business mindset.

Read more: How to get auditions
Read more: How to get MORE auditions 

How to Audition for a Feature Film

Okay so you’ve done it, you have booked yourself an audition now it’s time to do the work. There are a bunch of hacks to think about when it comes to auditioning for film. In fact I wrote another article on what to expect here.

Learn Your Lines

But let’s get down to brass tacks – you need to be prepared, as prepared as you possibly can be and the first step in that process is learning your lines. Folks, I can’t be specific enough about this, you have to know your lines, you have to know the hell out of them. Here is the thing, when you get into the audition room you are going to be stressed. In fact the stress activates the amygdala, the flight or fight part of your brain. This can cause you to forget your lines, go blank or just generally freak out. The only way to defeat this is to be so prepared you know your lines even when you are scared and overwhelmed. 

Check out our video on how to learn your lines:

Now there are many other ways to do it, but hopefully that gets you off the ground. Learn the pants out of them.

Script Analysis

Once you have learnt your lines, do some in-depth script analysis. What is happening in this scene? What does your character want? What is the essential action? By that I mean, what is your character doing to get what they want? Keep this simple. A lot of actors get a script and try and go for some gigantic, esoteric, ethereal concept to make an impression – I would avoid that at all costs. Romeo, sitting outside Juliet’s balcony, wants her to come outside so he can see her again. Then he wants to kiss her again. Juliet wants to know if the experience she had that night was real and to figure out how she feels about this guy. Keep it real, keep it simple, keep it achievable. 

We have in-depth articles on how to prepare for an audition and auditioning, so go and check those out. Yes we really do have articles on everything!!

Let it go

The final part of this is really allowing yourself to discover it all as brand new and exciting in the audition room. Allowing all of your preparation to live below the surface as you discover the life in the scene moment to moment. Anything that feels planned, or rehearsed, or generated shows up on camera. You have to learn it all, then let it all go and discover it as new when you hit the audition room. The only thing that can help you do this is practice. Check out classes in your area and if you can’t find any or prefer to work online, check out our online scene club.

Callbacks

It is highly unlikely that they will watch your audition and cast you in the film on the spot. It does happen occasionally but what is far more likely is that they will ask you to come back and do the scene again, sometimes with an actor they have already cast to see your chemistry together, sometimes with the casting director or director of the project and even sometimes for a completely different character to your original audition. Whatever it is, go with the flow, put your best foot forward and remember hard work trumps all. If you work your backside off and really prepare effectively, you will place yourself in a really good position. Additionally, be prepared to throw out all your ideas and respond to the notes and ideas of the casting team in the room. Sometimes they have access to the whole script, or the script has changed since you learnt it. Sometimes they just want to see that you can take direction regardless of circumstances.

How to Prepare for a Feature Film Role

You did it! You did the callbacks and you smashed them out the park! Congratulations! You now have a role in a feature film! So now what? How do you act for film, specifically?

Preparation my friend. Preparation. You should get to chat to the director, if you have a major or supporting role, sitting down and grabbing a coffee with them either in person or over Zoom could be a great idea. Talk through expectations, ideas and ask them for any thoughts or advice they might have. Once you are on the same page, get down to work!

You need to prepare as hard if not harder for your shoot day as you did for the audition. It is vital again that you know your lines, you know the heck out of them. And that you know your cues! I have a friend working on a major US show at the moment who has complained of shooting being held up by hours because an actor didn’t know their lines! Do not be that guy! Know ‘em into the turf, then make sure you have life inside that. Give yourself every opportunity to find discoveries in the text and be prepared to find that in every take!

Prepare well, and also be prepared for changes. Script changes can happen right up to the moment you shoot, so be flexible, be calm, be early and stay late. Be the kind of actor that makes production say ‘Oh them? Yeah they’re great! They know their stuff and they do great work!’

On Set Etiquette

Okay so being on set is weird. Sets are wild places. Let’s start with basics – Call Sheets – these can be difficult to interpret at first. 

There is always a lot of information listed on a call sheet. Firstly in the top left you will normally see the director, producers and writers. Often there is also a weather report. Please learn these peoples names and faces. They are the key to you working again. Then there is a list of shots the production will be getting that day. The scene number, set description how much of a page that shot is and which cast is required. The numbers next to the cast are in order of importance. Some sets and actors value this number significantly. You can see how important hierarchy is on a film set. Know where you fit in and try and bring professionalism to your role. Most importantly you can see your call time next to your cast number in the lower half of the page. 

Always. Be. Early.

Always. Turn up early, prepared and ready to work! Film sets will usually be running late, crew work really, really hard to set up a world for you to do your work in. The best way you can value what they do is by doing your job and doing it to the best of your ability. Additionally, be prepared to wait around. A lot! Always bring a book and snacks to set. It is more than likely you will be sitting in a trailer for hours while the crew works their backsides off. Try and stay warmed up and ready to work, you could be called any minute. Additionally, if you arrive before a meal break and you haven’t worked today, please let the crew grab food before you in the cue. Again they may have been up since the crack of dawn and really need a bite to eat to keep going. Politeness, humility and gratitude will get you  a long way on a set like this!

Shooting your scene

It’s your time to shine! Lights, camera and action! Okay great, so the first thing to know is that this could be very overwhelming, especially your first time. There are up to 80 odd people, running around and doing stuff. The director is under the pump. Everyone is trying to make sure you are comfortable but simultaneously really needs you to do your thing and do it well and do it fast! Introduce yourself to the DOP (Director of Photography), the camera team and the sound guy(s). Once the director has talked you through the moment they are trying to capture, ask any questions you may have. A great thing to know is your frame size.

Generally they will start with a wide shot, move to a mid shot and a close up. Then turn around and do the same thing for the other actor. A wide shot is just what it sounds like, you and the environment you’re in. A mid-shot will be focused from your mid bicep to top of head and a close up is usually just your face or more zoomed in than that! It is important to know this to know where the edge of frame, and therefore the size of performance they are looking for is. Wide shots offer you freedom to move around and do a lot more stuff. Close ups require extreme subtlety.

Also, engage and chat with the other actor(s) if they are open to that! Working and learning from other actors is one of the best ways to improve! Most importantly, nail your scene just like you practiced and take that direction on board!

What now? (Once your film is released)

Promoting the Film

Depending on your role, you might be on set for an hour, a day, a month or even a year! Every scene is going to follow that process and as time goes on and you get more confident in what you’re doing and supported by the cast and crew around you, you’ll get more confident in what you do! Eventually it will be a wrap on you and the crew will give you a clap after your last shot! Thank everyone for their work and get outta there! Now your life is going to be about promotion! Stay in touch with the production team and once they have given you the all clear to start promoting it, make sure you do everything you can to share it around!

Follow the film on all your social media, retweet and share their posts. Check for permission and if given the all clear post some behind the scenes photos or videos if you have them! Please make sure it’s okay with production before you do this or else you could find yourself in hot water legally! Keep an eye out for the premiere date and make sure you send any footage you get a hold of to your agent!

Premieres: a How to Guide

Ahh premieres, you gotta love them! The glitz, the glamour, the terrible audience Q and A sessions. What a treat, what a dream. See if you can meet up with the cast and crew before you head in, otherwise heading in solo can be a little weird. Suit up! If you have connections in the fashion industry, quite often they will lend you a suit or a dress for the night if you promote them at the event. This can be a fun way to get some radical threads. If the film is big enough or at a significant film festival, you may have to do some media. Try and do this part of the night relatively sober and keep to any talking points production has offered. It is also important to show the media who you are and why you are passionate about the story of the film!

Keep your chin down and your eyes open on the red carpet and enjoy yourself! Try and network as best you can and hit the after party! Premieres are a really fun night, just make sure you look after yourself and the people around you!

Conclusion

Well there you have it ladies and gentlemen the entire process from audition to premiere! This is acting for film in the modern world with a whole heap of links to get you started! If you need anything else or would like to get some practice in before you go auditioning for Scorsese’s next project, join our scene club! 

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10 Tips for your First Television Casting

1 – Learn your lines

This is a no-brainer: if you go in not knowing your lines, and wasting their time, they’ll cross you off immediately. Don’t stress if you forget a line, it’s not a memory test. But if your reaching for lines and struggling they will see that and you won’t come across well.

2 – Get there early

You’ll need to fill out some forms at reception, so make sure you have a moment to do this before you call time. Get there early.

3 – Look the part

Dress as if you were the character, but don’t go too far. At least show off some tones and appropriate pieces of clothing of the character you are playing. More on what to wear to an audition.

4 – Make sure your parking is paid for

Sounds silly, but it’s a hugely common issue. Most casting agents will be located in the city or inner suburbs where street parking is rife! Pay the meter, and make sure you know what time it’s up so you can top it up if you are delayed. Parking tickets are the worst!

5 – Be prepared to wait

Even though they can be relatively fast paced. When a casting agency gets behind it can throw the whole day, so be prepared to wait. Bring a book, or your phone and don’t get stressed about it, it’ll only affect your performance.

6 – Make nice with reception

Do not underestimate the power of friendliness. Even to the receptionists, she’ll remember you!

7 – Ask the right questions

If you do have any questions about the text that need answers, make sure you ask them before you begin. This doesn’t make you look unprepared or stupid. They like answering questions. It shows you’ve thought about the character.

8 – Hit your mark

Usually, there’s a spot, or a cross taped to the ground in front of the camera. It’s important to hit this, as you may not be in focus otherwise, and whoever is operating the camera won’t be working around you.

9 – Take the direction

Taking direction from the casting agent or director is the only true way to show them if you are listening, and that you can change.

10 – It’s not you, it’s them

A lot of the time in TV castings they are looking for a certain look or type. Have this and you are already on the short list, but often that is why you are called in the first place. If you don’t get the job, often its because you didn’t look right, or a million other reasons, not because you couldn’t act. More on what to do after an audition. 

For more on auditioning for TV. 

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Stand up comedy

If you want to crush a comedy audition you have to be funny. Not just funny to your friends and family. Funny to a room full of critical comedy professionals. From producers and directors, to your co-stars. Having the confidence to walk into a casting room and smash a jargon heavy audition isn’t easy. You have to practice. The best way to build that confidence is stand up comedy. Scripted auditions have to seem as natural as possible; just like stand up. So if you want to get cast on TV shows like The Big Bang Theory you are going to have to be brave and try your hand at stand up comedy. Like, today. Do it!

Acting classes

Alright now that you have had your shot at stand up it’s time to start practising with other peoples scripts. It’s easy enough to be funny in your own words, but now you have to be funny with someone else’s. Join any comedy acting class in your city and dive in. You won’t always be funny, and that’s okay. The most important thing is that you discover your strengths and weaknesses. Once you know what you’re naturally good at, refine it. Delve deeper. Once you recognise your weaknesses decide whether or not you want to improve in those areas. If you do, that’s great! If you would prefer to focus on what you are already nailing, that’s fine too. Just keep turning up. Get laughs. Gain confidence.

Experience on set

The best way to get cast on TV shows like The Big Bang Theory is to have on set experience. Often actors turn down smaller roles because they are hoping for something bigger and better. Sometimes that happens. Often times, it just means another hungrier actor takes the part and jump starts their career. If you want to feel comfortable auditioning for major comedy TV shows – take smaller roles. Time on set is incredibly valuable. Seeing other actors work, learning their process, will definitely help you crush your next comedy casting.

The right agent

Getting cast in major TV shows isn’t just about acting. It’s about representation. Having the right agent at the right time can make all the difference. If you’re not sure who your agent or manager represents jump onto IMDb Pro and have a look. It’s important that your management has connections to creatives and creators in the comedy scene. Do they have clients who are currently on hit TV shows? No? Well then it’s time for a change. I know it can be scary to jump ship; but if being on a major network comedy is your goal, then you should commit 100%. You can only go as far as your agencies network.

Write your own

This is a big one! If all else fails… write your own show! Sounds too good to be true right? Having your own pilot made into a TV show like The Big Bang Theory? Well guess what? Every writer, creator, actor, producer – they are all just people. People like you and me who have been brave enough to put their work forward and fail. Or in the case of Chuck Lorre and Bill Prady, succeed. Majorly. $$$.

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Here are 16 ways to help you come up with your next short film idea. (Ps it doesn’t have to be a great idea. The important thing is that you make it and learn from the process). Go forth:

1. Read stories.

Load up on story juice. Read as much as you can.

2. Brainstorm with friends.

Working with friends is one of the best ways to come up with new ideas. Find people you feel comfortable with; there is nothing worse than holding back your ideas. Don’t put too much pressure on the outcome, just start getting better at coming up with ideas.

3. Watch great films

Films are one of the best ways to get inspired. But don’t just watch the film and forget it. Discuss it with your friends, read reviews and see what other people thought, pick it apart. Why was it a great (or terrible) film? Now that you’re making films it’s great to start looking at films with a more detailed eye.

4. Read or watch plays – start with the classics.

We’re hammering on about this, but reading, listening and watching stories is the main way to come up with your own story ideas. Plays epitomise good storytelling. A play falls over without a great story. So learn from the best. Read widely, but remember classics are classics for a reason. Some best plays listed here.

5. Make a notes folder – write 3 ideas before bed.

However bad they are, write down a few ideas before bed. They could be story ideas, characters, or ideas for scenes/monologues…

6. Get out of the house.

There is nothing more inhibiting to creativity than staying inside all day. Get out of the house and mix it up. In a recent interview I did with Luke Mullins, an incredible theatre actor, he mentioned the importance of continually being disturbed or challenged as an artist. Go out and challenge yourself…

7. Journal.

The more you write the more it unlocks your creativity. Keeping a journal gets you writing everyday. It also forces you to reflect and find the detail.

8. Look at the detail.

Writing is about observation. Find the detail in life and turn that into story. A short film can revolve around the simplest concept.

9. Ask people their story.

Get curious about people. Find different ways of looking at the world. Ask your parents how they met. You’ll be surprised the stories you find just by being interested in people’s lives and asking the question.

10. Rewrite a fable

When inspiration isn’t coming, try rewriting a classic story. Even Shakespeare got the framework for most of his plays from fables and classic tales.

11. Free-write everyday and find the gold.

This is also referred to as stream of consciousness writing. Just write and don’t judge what comes out. This is a great way to get your creativity flowing. You can trawl through these ramblings at a later stage and find ideas, though it’s really about unlocking and unblocking.

12. Use visuals.

Hate dialogue or just struggling to write? Try finding inspiration through visuals. Base your next short film off an old photograph or art work you like. Can you make a short film without dialogue? Yes.

13. Have arguments with friends!

Test your ideas and beliefs with your friends, and if you dare, with strangers. You won’t find ideas from being a nice person. Test your ideas and those of others.

14. Put two iconic archetypes in a room.

Great stories often come from characters and relationships. Put two contrasting elements together and magic can happen. Watch Hunger for reference.

15. Tell stories.

If you think you have a great idea for a short film, tell the story to your friends and family. You will know whether or not your story is compelling from your audience’s reaction. Make sure you don’t tell them it’s a short film idea, just tell them the story!

16. Point a camera at something

If all else fails just point a camera at something and press record. Often inspiration comes form doing. Think of the first idea you have and run with it.

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What is pilot season?

Pilot season is when television networks are developing their new shows for the year. The first episode or the test episode of a series is known as the pilot episode. If audiences and executives respond well to a pilot, the network will generally fund the first season of 8-10 episodes. It’s a risk mitigating process that allows television networks to try new shows without fully committing the time and money it takes to produce a whole series.

Why is pilot season so good?

There are heaps more auditions during pilot season than any other time of the year. Actors have varying access to pilot auditions depending on their location, representation, price-tag, and experience.

How should I prepare?

Before moving interstate to spend pilot season in New York get local representation. Freelancing during pilot season is a huge waste of time. You need a team of people on your side to get you pilot auditions. Pilot season is hectic and you can’t do it on your own. Make sure you update your headshot, resume, and showreel before you approach agents.

You should also read our self-taping equipment guide in case you’re asked to self tape!

Being based in New York will give you greater access to pilot auditions than say Houston, Sydney or London, but LA is the place to be during pilot season. Even if a series is shooting in New York, the lead roles will be cast nationally/internationally.

Get yourself an agent or a manager and go for it this pilot season!

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