Copyright Page
ISBN: 9781456735760
Dedication
This book is dedicated to a lot of people. The actors that have appreciated my work, the ones who have told me when I sucked or didn’t, the friends who have asked me for advice for whatever reason, the directors and producers and writers who have asked me to be part of their projects.
But my real dedication for this book has to be the one person in my life who has been my total inspiration, my biggest fan and critic, the bitch in my ear when I was screwing up, the lover when I needed comfort and soothing when I cried, called me down when I screamed and raised hell about the stupid director or casting director that wouldn’t see me or hire me and the woman that I had no right to be with for all these years. A woman met in a bar for nothing more than a one night stand who decided for some reason to stay with my dumb butt for a few more than 20 years and became my friend, lover, confidant, bookkeeper, consultant and caretaker, and actually agreed to be my wife, even knowing my history of philandering and carousing.
I dedicate this book to my Best Friend, my Redhead, aka Wife, Loleta K. Moore-Davis.
Thank you for everything you’ve done for me, sweetheart.
(Well, assuming you get all this stuff put together to look like a real book! 
)
Writing of this book came about as a result of wanting to do some reasonably priced acting classes for one of my buds, Art W. Smith, Jr. We wanted beginning and intermediate actors to get a clue as to what to expect in the business for something less than 350 bucks. That’s still gonna happen, but when I started writing it, the “Two Hour Acting Class in only 3 Hours” became the monster that has become “Camera, Speed…Action!” An Insider’s Secrets to the Real World of Acting.
I have probably blown some auditions during the writing of this book that is designed to tell you how not to blow an audition, ignored my Redhead, called the cat that got on the keyboard names that I really don’t wanna use here and, in general, been a horses ass. Dimwit will suffice for the cat. I have awakened at 2 am and wrote something worthwhile, only to find out when I was awake it wasn’t worthwhile at all. I have written notes on envelopes that I threw into the recycle bin, recorded voice of what I wanted to say and not been able to find the memory stick when I wanted to write the part I had recorded. Every sentence has lead to another sentence; every definition has lead to a definition of the definition.
A little bit about acting, a little about the set and the people you’ll be working with and a little bit about the overall business, like the part where you get paid and stuff.
Basically what you should expect if you really are silly enough to get into this business.
I’m thanking the Redhead here, (probably don’t need to, since I wrote that glowing dedication), but she has suffered more than anyone else from my agonizing need to share with you the realities of acting. She has been helpful, sometimes unwillingly, granted, but always there for me. A kick in th’ butt, a smooch on the cheek, a scream from the back, “I’m in th’ shower, dammit!!”
And I also want to thank all the great people with whom I have worked on the sets everywhere for all giving me some fodder for the basis of this book.
And special thanks to Christine Padovan for her efforts helping me with audition videos, and for her help in producing the educational videos that will soon be available on the web site.
Many people have shared information with me that I would not have been able to gather in a lot of cases. Their names are lost in the infinite films, TV shows, commercials and the rest, but they are all treasures to me. The ones who were willing to share the same information I intend to try to share with you as I give you the tools you need to help you understand and succeed in the business.
You’ll find this book not to be very grammatically correct; it’s written for conversation, so now seems like a good time to get on with it, and go to the kitchen table, get some popcorn, a cold beer or some ice tea and have a little conversation about the real world of being an actor.
Michael Ray
As the saying goes, ‘actors are willing to give their entire lives to a moment, that line, that laugh, that gesture that will stir the audiences soul.’ Michael is that actor. His sacrifices are almost as painful as his performances…Truthfully he is one of Florida’s greats. I hope to someday have the honor to play opposite him. That would be something. Randy Molnar, Actor/Producer
First thing you need is another means of support, because you’re gonna need one. You’ll starve to death if you think you’re more talented or prettier than everybody else in this business.
If you’re in the biz right now, you know how it goes; you have times when the money flows in and times when it’s dry as Death Valley.
You’re going to need education; (like this course/book), good headshots/comp cards (those cost money), a voice demo (if you want to do voice over, more money), a good demo reel (DVD, almost a necessity these days, more money), and numerous other tools to market yourself, not to mention maintaining your vehicle so you can get to auditions, no matter where you live. You’ll have lots of driving, flying or taking a train. You’ll have to maintain your cell phone, probably want a laptop, connectivity to the internet to help market yourself, your own website at some point…
All these things take money.
A J.O.B. (say job) with a flexible schedule is good but all of ‘em get in the way. Even being self employed and naming your own hours is difficult, because it takes focus away from your goal of being an actor.
Being retired, independently wealthy or having a spouse who will support you are all recommended. Sugar Daddy, Sugar Momma? Not always available, but recommended.
Patience is fairly essential.
Days on a set can run to 16 hours, sometimes busting your buns, but most times waiting. Recently I heard even Samuel Jackson say he didn’t get paid to act, he got paid to wait. And if an “A” player says that, you can take it to heart! (“A” players are the ones that are automatic draws to the theater, the ones whose names everyone knows. Sometimes “A” players are lousy actors, but they have celebrity draw. Wooden words and being somebody’s lover can make an “A” player very quickly.)
It’s hot on the set, cold on the set, and quiet on the set. You have to be prepared to be disciplined whether you’re working or waiting. If it’s 20 degrees you may be working in a short sleeve shirt; if it’s 100 degrees you may have to wear an overcoat and gloves.
Sometimes the directors have some sympathy/empathy for the conditions, but for the most part they are so focused on the shot that they don’t notice whether it’s hot or cold. At least not the good ones. And there’s another rub.
You’re not always going to be working with pros; some are wannabes who have learned how to turn on a camera and some lights and are going to make the next Million Dollar Baby. (That one was shot for a couple million as I was told, and returned about a 100 times that. That was Clint Eastwood, of course, so you’re not going to have to worry about that for a little while, most likely.)
Just try to be calm, pay attention to what they say and try to remember that the director is not always right, but he is always the boss. Well, until the executive producer tells him he’s screwin’ up. (And sometimes the contract has stated that the director takes all creative control once it’s signed.)
Yeah, yeah. Right! Stay calm. You’re freezing your butt off and the director is looking at making script changes. If you don’t wanna reach out and touch him/her, you’ve been smoking something that I need.
Remember, it’s like any other job. There’s a pecking order and you’re the last one to get pecked, trust me.
True story: On a set, 25 degrees, freezing cold, bouncing around like an idiot, principal on the set, along with this poor thin beautiful young lady, who is totally freezing, I have my coat off frame, give it to her, we’re both still on our marks, we’re hugging each other for body warmth after the first 4 takes (not our fault, I promise, camera/sound issues) and the Assistant Director says, after twenty freaking minutes, “Oh, Michael, you and Janice can go back to the tent, we won’t be using you again for a bit.”
We looked at each other, both freezing our butts off, and she said to me; “Michael, you want me to kill him or would you like to do it?”
I got some really tight hugging in front of the space heater from this attractive young lady, and we thought nothing of it. It was pure survival.
Was that January or February in Texas? Was it Janice or Janet or Juliet? Been too long, but I promise that was cold!
I wish I had kept better records in the beginning. I have no idea how long the resume might be if I had. That’s something for all of you to consider.
Be a good record keeper, and keep up with all related expenses that involve your acting career. Mileage to an audition, maybe even special makeup. Nearly everything you can verify as relates to the Biz is a write off at tax time. Food you ate in Waxahachie for lunch is deductible if you were going to an audition in Austin.
Ooops. Disclaimer here. I am not a tax attorney nor a tax expert. I have written these things off my tax forms and they have been accepted; check with your tax preparer or tax attorney before you decide what you can and can’t deduct. Please.
To keep me from being audited!!
If I were you, I’d take my chances! (But I didn’t say that!) Right?
You’ll need to work on keeping your mouth shut when not being asked to talk. When the A.D. (Assistant Director, there’s usually a first and a second, the first will usually be the loud guy on set, the second will be the one who tells you what time to be on set and where you need to go, sometimes will direct extras.), says “quiet on the set”; that’s what he/she means.
You can screw up a scene by your keys rattling, taking a step in your wooden shoes, squirming in your seat, yawning, whispering…there are more examples; you can screw it up and it’s not a happy on a professional set when that happens. You probably won’t get fired, but everybody will know you just cost them money and time.
Best bet when you hear “quiet on the set” if you’re not in the scene? Freeze. Don’t move, don’t breathe, ignore everybody around you. And separate yourself from noisy people; they’ll get you in trouble.
And, despite the “probably won’t be fired” part, they can and do kick people off the set.
And, of course, in these days, turn off your cell phone!! Nothing says non-professional as much as your phone ringing during a shoot.
Breakfast, lunch and dinner are when you should turn the thing on, and remember to turn it off. You don’t have enough to talk about (no, you really don’t, you’re not that important) to need to talk to people when you’re on the set. There’s vibrate and silent modes, yes, but off is the operative word here. You won’t be distracted that way. And BS distracts you from your goal, anyway.
“My friend Michael Ray Davis is not only a very good actor, but has a great sense of humor. His book will be a must read for all actors!” Deborah Agoos, Model, Actor and Friend
Think about it this way. You’re in an office environment. Your job is to answer the phone at the front desk. You’re being paid to answer that phone, but you are talking on yours. How can you be efficient for your potential customers or employers if you are talking on or expecting a call from your personal phone? (Drat. It is still telephone, spell check doesn’t like “phone.”)
Treat the set environment the same way as the office environment. It is no different. It is not a day of fun; it is a day of work!
“Michael is always willing to go to any audition, booking or even pick up lunch -- if you buy.” Marge Woods, Former Owner/Director of Strictly Speaking Voice Acting Agency
“Former Owner?” Maybe because she represented me?!!
Telling on myself here, but I once had a phone on vibrate and I also had my car keys in my pocket with the phone. Duh. Audio rolling, ECU (Extreme Close Up), boom mic, lavalier mic and my pocket rattles. And it’s 9 p and these guys have been at it since 5 a.
They can’t throw me off, I’m the hot shot; but the crew wants to do things to me that are rated XX!
Don’t let that actor be you, especially when you’re new, but more especially after you know your way around. Remember, your reputation as professional or non-professional follows you everywhere.
So just turn th’ dang thang off until you’re off set.
“Through his broad range of experience, Michael has developed a good sense of "street smarts" on acting and what casting directors want. When he gives advice, I listen.” Al Aki, Actor and Friend
You’ll need to buy some soft sole shoes, because not every set will have the little cushions for your shoes. If you are an extra in a big scene that requires lots of walking, you may even be asked to take off your shoes if they have hard soles.
So wash your feet.
You’ll need extensive wardrobe. From this moment forward, never buy anything with a Logo on it. If you buy stuff that has logos, be prepared to have it removed, marked out, marred or destroyed.
Nobody cares about Polo because if we are making a film and one of the folks see a Polo shirt when the film comes out they may want us to pay them for the right to use their logo!! Budweiser, Coors, same thing. When we drink a beer, pour some liquor, we better have a product placement deal with the company in question. (And the converse of that is the smart producer can actually get some money for using a brand name. Ask my buddy Nick Loritsch (hope I spelled that right.) who just wrote and produced “Born and Raised” in Panama City, FL.) He got a big name beer company to co-co-co-co produce (say invest) in his film in exchange for everybody drinking beer to drink their brand.
But, from the actor’s standpoint, NO LOGOS!! And it’s actually a good idea to stay away from logos at auditions, as well; you won’t look as professional. The Casting Director will know that you know the program and so will the Director/Producer who views your audition.
Stay away from buying black, red, or white for anything; although if you don’t, you’ll always need those colors. “Don’t you have a white shirt?” “No, I’ve always been told not to wear white.”
They don’t like the aforementioned colors for extras, or for auditions. But you have to have some black, red or white for when they need it. So damned if you do and damned if you don’t.
Lots of exceptions in the biz! They need a doctor in a lab coat. What color is that? Don’t know about you, but white is the only color lab coat I’ve seen on a doc or nurse, so it’s the only color I have.
What, Michael, you’re saying we bring our own stuff?
Big time movies furnish wardrobe for the actors, don’t they?
The answer is yes, mostly, especially when you’re a principal, but my answer is that I really don’t want to wear ill fitting clothes that one sometimes gets from someone who has purchased in bulk for 12–25 people.
Wardrobe people call and ask for your sizes.
Trust me, (not their fault) I have had 34 inch waist pair of pants that wouldn’t fit a 31 in the waist. One can never know about the cut, so be as honest when giving sizes to folks as you are about your pictures. They need to be real.
And the stuff still won’t fit. (I have a sport coat that has been on at least 200 sets! Wardrobe always seems to like it. And pants I’ve had for 15 years still work.)
The Redhead wouldn’t want me to tell you that we have made a bedroom into a wardrobe and audition room! And we’ve transformed another bedroom into an office/voice studio! So no overnight visitors without prior notice, okay?
“Having worked with MRD, one thing I know without question is he loves a well-made turkey sandwich on a croissant, or he was really doing a great job of acting when he convinced me so. He’s the best!” Carol McClelland, Web Designer and Voice Actor
I’ll try to defend the wardrobe folks a little later. The pros know you have to jump through hoops just to get clothing to the set.
But this is a business of contradictions, as you will see, as we delve further into its intricacies.
You will always need a white T shirt if you’re male, (referred to frequently and annoyingly as a “wife beater”) and I don’t know what the ladies have to take for underclothing; but I’m guessing you need your bra and underpants.
Sounds funny, ladies, but I have seen it happen. Little Green dress, nothing under it! DOES NOT MAKE A HAPPY WARDROBE PERSON. Big eyes from the guys, but not very professional.
Everybody needs to do an honest appraisal of themselves if they are wearing tight fitting clothes. Guys, your 15½ neck shirt on your 16½ neck doesn’t work if you have to wear a tie or if you have a gut. Same thing for the waist. Own up to what size waist you have if you’re not 21, anymore. Of course if you’re 21, your mother still buys your clothes and you know everything so I needn’t have mentioned it. That’s not a slam; I, too, knew everything when I was 21. Maybe when I was 18. You will find that you don’t know much at all, just a matter of time. Especially in this business. It’s okay to be fashion conscious, but don’t try to get too cute if you expect to be taken seriously.
And you old guys have to be careful as well. If your waist is 36 inches, wear 36 inch waist pants. You look stupid squeezing into 34s. Try to keep your britches around your waist and parallel to the floor. You’ll have to think about that I’m sure. When your belt buckle points toward the floor, you look like a slob. That might be required, and may not matter sometimes, but it is a point that every camera I’ve ever seen will notice. And try to stand up straight. We’ll talk more about that later.
Okay, if I don’t get around to it later, guys, work on your gut. Simple exercises like holding your gut in for a count of 10 a few times when looking at games on the computer can have an effect. When you are driving, suck it in, hold it for a count of 10; release and do it again. As many times as you think of it.
And take the clothes off your exercise equipment and use them occasionally for their intended purpose. That didn’t come out right. Sounds like I expect you to use your clothes for their intended purpose. I meant the exercise equipment.
10 minutes every day is fine. You don’t have to overdo it, but I bet everybody looking at this page has some kind of exercise equipment that is not being used.
(Note for my lady readers: I really do still look cute in 32 inch waist pants. Not bad considering I once got to 210 lbs.)
YOUR LOOK IS YOUR WORK!! Especially at the audition. If you don’t present yourself well, your acting ability will be overlooked. It takes exactly 8.7 seconds from the time you enter the room for a director to determine whether he/she likes you. The mood for your audition is set at the moment you walk through the door. Think of it as the curtain opening and you are the only one there. Because that really is how it is.
Don’t second guess here, either. One and done can be a good thing. You nailed it and they liked what they saw and say, “Thanks Michael Ray, very nice.” You don’t know what that means, ever!! So, say thank you, smile, grab your bag and move out of the way for the next person. That’s the professional way.
They may have you read it three ways to see if you can take direction. They’re not doing that unless you really sucked on the first take and they want to give you another shot. Mostly they want to see if you can take direction and are versatile, especially when they themselves are not sure of the character’s back story!!
Remember to never ask them about your performance, apologize or interfere in any way with their process of finding the right people. They only need to know something if they ask!! Don’t be Michael Ray and volunteer stuff; it will only get you in trouble. I’ve been successful to a certain degree, but I might be more so if I hadn’t been stupid so many times.
So, sweat it, yes, worry about it, yes. Let it overwhelm you? Try not to, is all I can say.
We’ll cover the audition in more detail a bit later. We’re just getting to know each other.
“Why wouldn’t Mike be good at acting, He’s always acting. His real personality couldn’t keep me awake.” Greg Nischke, Broke and Destitute former IT guy and friend to women with large boobs
Ladies, let not your vanity get in the way of dressing properly. Your navel is not always the focus of the audition. “Muffins” are in as of this writing, with pierced belly buttons sticking out and little tight britches hugging the crack of your butt. Professionals do not want to see that unless they ask. Showing your large American breasts will not guarantee you work in any professional environment. Professionals have already seen all of them.
Casting Directors and Directors and Producers want to (in most cases; there will be exceptions) see your acting abilities first, your anatomy second.
Off direction here, but Ladies, if ANYBODY asks you to disrobe any further than taking off your jacket if you have not been notified prior to the audition or shoot, FLEE! Don’t walk, RUN AWAY!! You have a pervert with a camera. And there are a lot of them now with all the technology. And they may not even have a legitimate script. You have to be careful if you are serious about your career. Getting naked as part of the character in a supervised environment is almost a chapter in and of itself, but don’t just take off your clothes because some little mole with a camera says you need to.
Back to clothing choices.
Ladies, the little pink dress that hugged your breasts and your butt and showed your pubes at the party last night is unacceptable for most auditions. You may have some sexy little starlet roles to read for, but consult your agent before you walk in to an audition showing everything you own.
Start thinking J.C. Penney instead of Victoria’s Secret, okay?
They don’t like the aforementioned colors (red, white, black) for extras, or for auditions.
If you do an extra gig or even a principal role for a union shoot, they’ll pay you a few bucks if they want you to use your own wardrobe. And union shoots usually will pay you for fitting when they want to use their own wardrobe.
So, bottom line, have a variety of styles, colors, and types of dress. You should know by the time you shoot, but sometimes casting can be very non-specific.
Ladies should have everything from a thigh high skirt to a flowing gown and everything in between.
Guys should have jeans to tuxedo and everything in between.
You will have a general knowledge of what they want if you’re going to be background, so you won’t need to take everything you own, but I promise I have hauled 50 pounds of wardrobe on a set with a large background group. Don’t take one shirt and think that is enough. Always plan to change, and sometimes more than once if you’re deep background. Or even if you’re a featured extra, actually.
Just take a bunch of stuff, okay? Including shoes, maybe a hat. It costs nothing extra and could get you that elusive “bump” (increase in pay or promotion to featured extra or even principal!) that you want.
Much of what you need can be found at thrift stores. No shame in paying 18 bucks for a Brooks Brothers suit that fits you perfectly, guys. And ladies, since you all love to shop, anyway, try Goodwill Boutiques. The “Boutique” and the prices will make you feel better. Like chocolate.
And go to Wal-Mart or K-Mart or such and get a cheap wardrobe bag. Nylon is fine, something that can get thrown around, because you will be literally throwing your clothes on the floor, ground or wherever you happen to be from time to time.
There was a time when you put sizes on your resume so they would know your sizes if they were furnishing wardrobe, but that is pretty much passé now, as no one reads the resume except maybe the director. I said maybe, we’ll talk about resumes later. Remember steering wheel drummer.
This kind of goes back to having a real J.O.B. or someone to support you.
You’re probably not going to work regularly at anything in the beginning, although if you have a particular skill, look or ethnicity, you might be more in demand than some.
John Kyle works regularly in big films. And he’s a big guy. Great actor, but very much not the mold. 7 feet tall, long hair, hard living evidenced in the face; gets called all the time for movies and TV.
5’ 10” Caucasian guys get called a lot. For auditions. You simply have to be better than all the other 5’ 10” Caucasian guys. It’s pretty simple.
We call it “Book a Look”. But it always helps if you can engage the director and really be able to “act”, which is rapidly becoming a thing of the past.
(Explanation here, and something I never thought about.) Many of the agents here in Florida have focused so much on modeling that there is a separation between modeling and acting. I found it weird when one of my agents called and said, “Michael Ray, I perceive that you’re an actor, so I would like for you to read for this part, even though you’re slightly older than they’re asking for.”
Actor? Really? Duh. I never had thought of myself as anything else.
But there is a separate category. One agent has tons of pictures on the wall of their many “models,” but very few “actors” head shots are on that wall. Models model apparently, actors act, singers sing, dancers dance, and comedians comedian, and we’re all different. Find out who you are in this business. Have a definition about yourself. I have labeled myself “character actor” so I know that only occasionally is someone going to want me for a model. Label yourself and be the best you can be. Versatility is good, but don’t get carried away trying to be someone for all seasons. (Find an area/segment at which you excel, and get as good as you can before considering the other options.)
Okay, I digressed, ADD kicked in. Moving right along.
Ladies, 5’ 7”, blonde, same thing. You will be called a lot, but you have to have something special.
6 foot brunette? You have a special case like the aforementioned John Kyle. You are a novelty. And you won’t be called a lot, but when you are, you have the advantage.
6 foot, brunette, 145 lbs that can kick 7 foot guys butt is good, but you won’t work very much. Lots of auditions you won’t be called for. If you really can kick butt, you can work some doing stunts.
And if you worry about booking ratio, it can really be depressing. (Personally, I like 6 foot brunettes, but that doesn’t get you hired.)
Other side of the coin. Small Stature.
5’5” guys work a lot. They’ll figure it out. 4’9” guys not so much. 4’9” ladies, on the other hand, do quite well. Especially if you’re paired with a 5’5” guy!
Bottom line here? If you have talent, you can work. Frequency of work will depend on a lot of criteria.
Can you act at all?
Can you take direction?
Can you take the pressure? (More later on that.)
Can you honestly evaluate yourself?
Did you practice and learn the words for your part?
Did you catch a dumb butt director who didn’t recognize your talent? (Yes, that is/should be, your greatest fear, if you’re not fearless.)
And you COULD move forward in a hurry.
But even so, you have to remember this is a business; and just like any other business you must understand that marketing is important.
Until you’ve established yourself as a pro, the calls will not be coming very often, and even if you are one of those special types, you still need to keep your name in front of casting directors and producers; and there will still be lulls.
If you’re not one of those with a special look, it’s especially true.
There’s a reason that actors in successful TV series go off and make a movie every once in a while when offered.
On th’ farm we call it makin’ hay while the sun shines.
You never know when it’s gonna go away.
One of my favorites is from years ago, one of the stars of “Northern Exposure,” Barry Corbin. He had been sittin’ on his butt for about 8 months, no calls, no nothing. His daughter wrote that only two weeks before he got the call, he had even said to his wife, “I wonder if I’m ever going to work again.” Well, the call came; he didn’t even like the script, thought it would be a bust, but took the part anyway. I think the show lasted about 6 seasons.
So, if you have a modicum of talent and perseverance you can work some, but it may not last.
And vice versa.
When you think nobody likes you, when everybody is against you, something will come along that will give you new hope, new inspiration and you will be rejuvenated. That’s what actors count on.
We talk about the big break all the time, and they are out there.
One of my buds got a “big break” just recently. He was hired as an extra on a Tiger Woods spot, and actually got the elusive “upgrade on the set” and made a bunch of money. Now that didn’t propel him to stardom, but it did pay a lot of bills and enabled him to continue marketing himself for bigger and better parts.
So the “big break” is not always the leading role in a Spielberg movie, or winning a role in a major motion picture.
The big break for a couple of guys is probably evident in the Subway commercials, and one of those telephone guys? They have made hundreds of thousands of dollars from being a one trick pony. Both are examples of the “right place at the right time.”
And, oddly, everyone thinks that’s what happens when they first get into this business.
And if that’s what you expect, go back to waiting tables.
No, more often than not, the big break comes after years of work, training, and perseverance. Your average overnight success has been studying and working for 20 years, you just never heard of her/him.
George Clooney spent thousands taking those expensive courses and worked stage and freebie film before he made it!! Hold that close to your expectations. (It’s unfortunate that he has become a celebrity, not an actor after all that training.)
And that’s the path you need to count on.
Work your butt off, learn your craft, don’t become a jerk and get to know the right people.
And try to figure out how to keep from committing suicide when you can’t get a part!
Truth be told if you land one of 20 parts you read for in Florida, you’re above average.
And that can be damned depressing.
Just think about it.
Each time you audition, it’s another job interview. Imagine being turned away 20 times if you were interviewing for a real J.O.B.
The big corporate J.O.B.s sometimes require 4 and 5 or maybe even 6 opportunities to make sure they are compatible with the company’s business model. We have one shot, guys and gals, and that’s the audition. If you blow, you don’t get the gig, if you’re fantastic, you may not get the gig, if you suck, who knows, somebody may see something that they like about your look.
But there are also times when you will or should question your abilities, your goals, and your direction. And when you start doing that you start losing confidence in yourself; and when you do that you start feeling anxious and worried about auditions. And that’s when you start a downward spiral that can really hurt your career.
That’s a time to think about going to a class, rethinking your presentation, attitude and the rest.
Nice thing about classes, which I hate, is everybody is in the same boat as you.
And maybe, if you’re just beginning, you might want to go to a school that specializes in film/TV. They have classes you can probably take, although they want you to do the full curriculum, I think. 2 year study probably around 10 grand, but they also qualify for student loans.
But, strictly as an actor, you need to know that their students are doing films where you might have an opportunity to get some real experience. You have a better chance of getting a non-paying gig and the kids are good for the most part. And you can learn a lot!! And you can be a star and add to your resume. (Nobody needs to know for the first part of your career whether you got paid or no!)
(Oh, sidelight, here. The booking ratio I mentioned is me. And in Florida and Texas. If you go to Los Angeles and book one of 200, you’re pretty good. New York, probably about the same. So that gives a whole new meaning to the rejection thang, dudn’t it?)
Every time you’re on a set try to learn something. Watch the grip, the gaffer, the A.D., the P.A.; they all bring something to the table.
If you spend 12 hours on the set, don’t learn anything and go home bitchin’ about it, you need to rethink your goals.
“I first met Michael on a film we were both working in. His cranky attitude at the time masked his evident talent once rehearsal began on his scene. It was amazing to see his transformation from his real self completely into that of his character. The man is a unique and gifted acting phenomenon.” Christine Padovan, Actor, Colleague
The mainstay of your career is the job interview. Also known as the audition. Strangely, the more prepared we are for the audition, the more that can mess us up. You have your own idea what the character is going to do and the low life gutless worthless Casting Director tells you something entirely different.
I say that tongue in cheek, but when you’ve read all that’s on the sheet and prepared yourself for one read and she/he tells you something completely different, it can be a real shock to the system at a time when you least need it.
Just happened to me in fact. Major auto parts/mechanic store called me back after I apparently did something they liked the first time around. Waited 2 ½ hours preparing for what I had done in the first read (audition). Guess what. “Michael, we’d like you to read for…another role for which I was not prepared, even though I had reviewed it. I was aware of the attitude, but not the words. I’ll have to tell you in the next book whether I got the gig or not! (Nope, you don’t have to wait, didn’t get the gig.) Just found out who got it. He’s not as good as me. Guess they liked him better, though, huh?
But, remember, your talent reflects upon the Casting Director’s decision to call you in, and if you’re good and land the gig, they will likely get more calls from that client as well as other clients that might be recommended to them.
Casting Directors are sometimes held in low esteem by experienced actors, and scare the Hell out of inexperienced ones. They don’t make the final decision about hiring you, but their positive input can benefit you, and their negative input can screw you up. One of my agents recently said that a Casting Director said if she sent a particular woman she would never call her agency again. And the woman books a lot of stuff. The CD in question just didn’t personally like the woman.
Treat the CD with a degree of respect, be friendly and know your words if they have specified that. Follow directions to a tee, don’t try to show off, unless your character is a show off, and treat the slate with respect. And, please, no kissing butt. Be quiet until it’s your turn; impress the camera, not the CD.
“If Michael is awake, he’s acting…and he’s pretty damn good!!” R. Fred Hosey, Lawyer and Career Cynic
Here’s what to expect.
You have a time to show up, you get there 15 minutes early, (which you should do anytime you are working or auditioning) sign in, fill out the information sheet, (which you have filled out a hundred times before ) and hold on to it along with 3 copies of your headshot. No, they don’t always want 3 headshots, but take 3 just in case. Your “highly qualified” agent should have told you how many to take, but remember that this is your career not your agent’s and you are responsible for it.
They will likely attach at least one copy of your head shot to the info sheet. (None of them have ever figured out how to do a size and info sheet. It will say “shirt size” in one column, and then “neck and sleeve length” in another one!) Then perhaps you will be asked for the separate head shot and they will hand that to the real director, or they may hold it separately for the submission, even if the real director isn’t there.