Doggone Days of April

Posted on 19. Apr, 2010 by sethcaskey.

This post has absolutely nothing to do with acting.

And sometimes we need days like that. It’s easy to get so focused on doing things to move our careers forward, that we forget to take a second and have some fun.

Yesterday we took our dog Schmiegel to the Huntington Dog Beach. And, today I’m taking a lesson from him on what to do next: Have fun, and don’t be afraid to get in there and play with the big dogs.

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Pesky Q & A

Posted on 09. Apr, 2010 by sethcaskey.

Holy crap it’s been a long time since I’ve updated this blog. Lots of great things have been happening in the past couple of months, which unfortunately has redirected much of my time. (read: excuse) That aside, I would like to continue my thoughts on getting the most out of casting director workshops.

Let’s get started.

Regardless of the format that you choose, each CD workshop you attend will have some sort of question and answer time. This is where actors can ask questions, learn about current projects and any specifics about the CDs particular office.

At first glance, this would appear to be a fairly straightforward time of the eventing. Oh, but it’s not….If there’s one thing that I hear from CDs all the time is that they can smell desperation a mile away. Actors who come into an audition or a meeting needing or wanting approval is an immediate turn-off.

So here’s the thing. (And I’m going to be brutally honest here.)

• Don’t use this time to suck up.
• Don’t try and impress the CD.
• Don’t be a desperate actor.

Seriously folks. I cringe out of embarrassment when I hear some of the questions people ask.

My #1 recommendation to for getting the most out of a casting director workshop is: Beeeeee yourself!

Yes, there is some important information that you should walk out knowing (and for that I have put together a little form if you care to use it). But remember, CDs are there to get to know you as a person.

Fact:

1. A casting director is never going to hire you on the spot. Ever.
2. It is HIGHLY* unlikely that you are going to be offered an audition on the spot.
3. There is no job on the line. It’s not a interview. It’s simply an opportunity for a person (casting director) to meet and connect with another person (new actor). Period.
4. Take all of the pressure off of yourself of getting this person to like you and trying to impress them – and just have fun!

I know that sounds too simple to be true, but I promise you – less is more.

1. Be a nice, fun PERSON.
2. Do good work.
3. Ask intelligent and appropriate questions.
4. Trust that you are enough.

If this sounds harsh, I apologize. After having done literally hundreds of casting director workshops, it pains me to know a wonderfully talented actor who tries too hard to make a good impression and ends up achieving the opposite.

That’s it?

So that you know that I’m not just venting, but am attempting to provide something useful with this post – I have put together a little download for you. This is a mash-up of something a friend gave me a while back along with some great questions that you should ask a CD. Enjoy.

• Sample CD Workshop Q & A

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Who are you talking to?

Posted on 28. Jan, 2010 by sethcaskey.

iPhone-friendly version

Are you meeting the CD, Associate or Assistant

Making the most of your workshop experience involves doing some research before you go in to the room.

As defined by CSA (Casting Society of America): CASTING DIRECTOR – The producer’s representative responsible for choosing performers for consideration by the producer or director.

So, does it really matter who you are meeting?

• Each office is different, and responsibilities will vary (we’ll talk about how to find out this info next week)
• Meeting more than one person in an office is a great way for actors to create some name recognition. Then no matter who answers the phone when your representation calls to pitch, chances are that the person on the other end already knows your work
• Assistants & Associates want to find new talent to bring to the CD (it makes them look good)
• In some offices, the Associate is the point person for the smaller co-star roles
• Assistants and Associates are the CDs of tomorrow

What are they working on RIGHT NOW?

Most casting professionals work freelance. Research what projects they are currently casting

• Casting About
• IMDBPro
• Showfax
• Breakdowns (I’m going to leave this one alone)

Do your due diligence.

CD workshop businesses are first and foremost businesses. They are around to make their owners money. The more appealing a workshop sounds, the more likely an actor will sign up. While some workshops are more reputable and ethical than others, the responsibility falls to the actor to do some research before spending his/her money with a particular company.

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Get Your $hit Together

Posted on 22. Jan, 2010 by sethcaskey.

watch on your iPhone

Don’t forget the basics.

Getting to your workshop prepared, not only alleviate stress for you, but allows you to show a CD that you are an actor who is ready to work.

Following is a partial list of things to have ready to go before showing up to your next workshop.

1. Headshot
2. Resume (attached and paper trimmed)
3. Link to demo reel (most CDs prefer links to DVDs)
4. Contact information (representation & personal) *some agents and mangers may disagree with putting your personal contact information on a resume. I like to put mine, so that in the event a CD can’t reach my representation, they have a way to contact me directly. This is a personal choice, and you should talk to your representation to see how they feel about it.
5. Misc. marketing materials
6. Postcard of where a CD can see your upcoming work
7. Business cards
8. Pens/Pencils/Highlighter
9. Snacks/Bottled water

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Find your format.

Posted on 14. Jan, 2010 by sethcaskey.

watch on your iPhone

Cold Reading vs. Prepared Scenes

Workshops are an investment in your career. They are an an opportunity for you to make a first impression to someone in the casting community. Choosing the right format for you will help you get the most out of your investment.

COLD READ FORMAT

Advantages:

• CD will usually choose sides for you. This can give actors a good idea of how a CD sees them. It’s great feedback in confirming or determining your primary type.
• The material that you will perform is usually something that the CD knows well. This makes adjusting a performance easier and more effective. If the CD knows the material and what their producers like to see from actors, it can make adjusting a performance more specific.
• Working with another actor. Depending on the skill level of the other actors taking the workshop, this can be an advantage or disadvantage.

Disadvantages:

• Actors have a limited amount of time with the material. (typically 10-15 min) This can cause dome actors great anxiety when they get up to perform.
• Working with another actor. Depending on the skill level of the other actors taking the workshop, this can be an advantage or disadvantage.
• Performing in front of a group. Cold read workshops are usually structured so that actors present their scenes in front of the entire group. Again, this can bring a level of anxiety to actors not comfortable performing in front of a large group.
• If you do not have strong cold reading skills – it will show.

PREPARED SCENE FORMAT

Advantages:

• Actors can select material that highlights their primary type. It allows actors to show CDs that they understand their primary type, and know how they are going to be cast. Note: It’s important that you find the right scene. Where can you go to do this?
  • Look at the student films or projects that you have booked  use sides from there.
  • Find a show or movie and transcribe a scene (or look online)
  • Write something original. Watch a couple episodes of the show. Figure out the tone, pace, cadence and then use your imagination to create an original scene in the same vein.
• Audition room simulator. A one-on-one, prepared scene format, reading with a reader is a close approximation to what an actual audition in the CDs office will be like.

Disadvantages:

• Making the wrong scene choice. Not knowing your primary type, or selecting a scene that does not show it can affect the impression the CD has of an actor. They may question whether or not an actor knows himself/herself and where they fit into the casting mix.
• Performing the same scene too long. Finding the right scene that showcases your primary type is great, but performing it too much can cause it to become stale. This can come across in the room as disinterested and not really listening (because you know where the scene is going). Find a couple of scenes that you can rotate through to stay familiar, but keep it fresh

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