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ACTORS

The Smaller The Role, The Harder The Audition

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  1. It’s not about you. The biggest mistake you can make in a small role audition is making it about you.
  2. Have the guts to do nothing. When you’re auditioning for a small role, ditch the acting.
  3. Breathe life into you, not your character. In a small role audition, when you do less and think you’re being boring, you’re actually interesting.

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Star Chrissy Metz on Her Long Road to Success

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Metz recalls that she pursued a career in acting without much direction, but with measureless determination. She explains, “After high school I really wanted to act, but I didn’t even know how to begin. I didn’t know anybody with connections, I didn’t come from money, I didn’t go to Juilliard. But I never was afraid of the odds, even though they were seriously stacked against me.”

Though she moved out to Los Angeles, she didn’t get very far at first. She remembers, “Some young women and I caravanned all the way from Florida, then lived in a two-bedroom apartment, three of us to each room, in Burbank. We were all on a budget—we spent nights playing Uno in our living room—but most of the other kids’ parents were footing their bills. My stepdad helped me with my car insurance, but I couldn’t ask him for anything more; they didn’t have anything extra. So I paid my own way by nannying or finding odd jobs. I had two auditions that pilot season, maybe. I cried a lot.”

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David Oyelowo on Memorizing Lines

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Oyelowo recently appeared in a production of Othello opposite Daniel Craig in New York — he confesses that he has no secret tips to learning an entire play’s worth of dialogue. He explains, “I wish I did have a trick to memorize lines. I often fantasize about having a photographic memory. Unfortunately for me the only thing that works is hours and hours of saying them over and over and over again.”

Nonetheless, Oyelowo does credit his theater training for making him a more effective actor on screen, pointing out, “I think stage is the best possible preparation for being on-camera because if you know what it feels like to say great dialogue to actual people night after night you can make most dialogue feel truthful while being around cameras and the artificial environment of a film set.“

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What Should You Write To Casting Directors?

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So, how do I write to them?

  1. Research. To grab somebody’s attention, you need to know what they want and what they need. Then you need to be the solution to their problems.
  2. Introduce yourself.Who are you, and what is it about you that would pique their interest?
  3. Decide exactly what you are writing to them about.Choose one thing, one thing only and be clear, concise and straight to the point.
  4. Ask them for ONE action (unless it’s a thank you- in which case I’d keep it as just that). What do you want them to do?
  5. Think up a catchy subject line that reflects the reason you are getting in touch.
  6. What materials are you going to send?I would recommend always including your headshot, Spotlight link or CV and website.

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Interview: Cate Blanchett

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How, as an actress, have you seen that borne out when you’re playing the part? Is it just a feeling in the air, is it that laugh lines are slightly different…?

As an actor on stage, the audience often thinks that they’re there to be entertained, but they’re a vital, active component of the evening. It’s not about laughter, necessarily; it’s quality of listening. Broadway audiences are so literate: They love theater, they love being told stories, they love a surprise. And that, coupled with the current — it’s not even a political climate, it’s like a moral climate — has meant that the play’s been attended to in a slightly different way.

I think we’re all so hyperaware of our relationships to the truth right now, and to our sense of objectivity, in every interaction we have throughout a day.

Language is incredibly powerful: the words we choose to use, and how we choose to use them. I remember ages ago, the word “evil” was purloined, and it’s been very bewildering to me watching the word “refugee” morph into the word “immigrant” morph into the word “terrorist” within the space of nine months. “Truth” is an immutable word: Something is true or it is not. Theater, actually, its currency is language.

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