Sacramento casting director Everett Blix has a few key tips for having a successful audition in any medium, in any market. His many years in the business (working on the agency side of things, casting extras, casting principals, and even producing) have given him a deep well to draw from, in crafting this bit of advice for actors everywhere.
Audition for Success
I have been a casting director for nearly twenty years and have auditioned talent for everything: film, television, commercial, print… you name it.
The most fundamental and important things I look for in an actor are A: preparation, B: a desire to audition, and C: evidence that this is someone I can work with. Come to the audition prepared with two headshots and resumes — one for the casting director and one for the director/producer. I don’t care that your agent said that we have it on file.
What ever happened previously in your day should be left at the door. Begin the audition process by signing in at the front desk. Be a bit early (10 to 15 minutes) but not too early. Ask if your sides (which you previously downloaded) are correct regarding the number of pages and current for that role. Ask to see a breakdown of characters. (I will bring this up later on.) Keep your discussion with the other actors in the room brief and quiet. If you act out here we will hear about it!
When entering the audition room, bring a headshot and resume with you. Walk over to the casting director and director/producer, if present, and greet them. Do not shake hands unless they make the gesture first. Notice where the mark is and place yourself there. Ask the person running camera how you are framed. Before the slate begins ask if there is anything about the role not apparent from your sides. If you have your own sides with you, have them stapled on the bottom right corner. You can let each page slip down and not have to flip the page into the camera’s view. Many actors flip that white page up into the camera. It is annoying and causes the camera to go out of focus.
Next, slate and read as directed. Remember: “action and reaction.” When you deliver your lines, have eye contact with the reader. Keep that eye contact while they read their lines. Then, look down and pick up the next line. Many actors can’t wait to deliver their lines before their cue comes, so they bury themselves in their sides. When finished, wait for a reaction. If there is none, ask if you may give a different take on the character. Now remember that breakdown of talent called for in this and other projects in the office. (The item I mentioned above.) If you feel that you may be right for one of those other parts, ask if you can read for it. It never hurts to ask.
Lastly, when finished, be cordial and thank everyone for your audition. Walk out the door confident, cheerful, and with a smile on your face. One time, an actor smiled and waived at everyone and said, “Thanks and I hope you find who you are looking for.” Ahem! Continue in that positive character while signing out and leaving. Remember we will hear about it!
Perhaps you were not right for the role you auditioned for. Remember those who saw you audition will remember you as an individual who was prepared, who enjoyed auditioning, and who they would like to work with in the future!
Thanks, Everett, for some good, basic tips to “auditioning for success.” Not saying that I speak for all casting directors in Los Angeles, but I know that I would not encourage actors to either start their audition with “is there anything I need to know about this character that isn’t evident from these sides” or end their audition with a request to read for other characters. As for my reasoning for saying no to the first item, here’s why: IF the actors have downloaded not just their sides but also sides for other characters (to see what they might be saying about all characters) or the entire script (if available), that question is useless. And if they ask that question without having done that “extra downloading and research,” they risk being perceived as unprofessional actors looking for in-room shortcuts (rather than doing homework). I absolutely encourage those types of questions outside the session room (remember, the session runner is your ally), but once you’re in the room, it’s time to get down to business.
As for that after-audition request to read for additional characters, I don’t think I have ever seen that type of request go well for an actor. Look, we know what else you might be right for, and we’re very likely to hand you another set of sides and ask you to do a cold read for another character (even on another project) when the timing is right. But asking whether you can read more when we’re already thanking you and sending you on your way could turn our “happy glow” feeling into second thoughts of, “Oh… is that actor underconfident in his ability to book this role and simply desperate to work?” We know we can ask you to do other roles that you might be right for. I would recommend that actors not micromanage our process. (Think about it. Would you want a casting director sitting at your side saying, “Hey, you should send out a headshot to that agent. You should submit on that role. You should practice this monologue,” rather than trusting that you’re a professional?) But other than that, I’d say Everett’s tips apply to actors auditioning in any market.
About Everett Blix
Everett Blix — a member of a showbiz family with roots in the 1930s studio system — entered the industry in 1982. His first job was assisting a talent agency with their submissions for principal roles. Everett switched to the casting area in 1988, working on a voluntary basis at Central Casting. In 1991, Everett moved to the Sacramento, California, area and opened up Media Casting. Since then, Everett has cast or assisted in casting nearly fifty motion pictures and television programs, over three hundred commercials, industrials, print jobs, and public service announcements. In 2002, Media Casting entered the area of film production with the independent feature film American Grace. Since then Media Casting has assisted with the production of five film projects.
This contribution originally ran at Bonnie Gillespie’s online column on August 1, 2007.