How Actors Can Win Over The Casting Room

The Queen of France was executed in 1793 for crimes against her country. Among them was the popular notion that she once said hungry French mothers who had no bread should eat cake. Although she may have said many things she would later regret, Marie Antoinette, Queen of France and wife of Louis XVI never made that famous statement attributed to her. It came from Jean Jacques Rousseau’s 1766 work “Confessions.” Rousseau was speaking of a famous princess who, upon being told that the peasants had no bread, replied “Let them eat cake.”

But Marie Antoinette couldn't have made the statement because in 1766, she was only 11 years old. Nonetheless, the legend lives on as a misconception. As a working professional in acting, casting and teaching, I run up against a lot of misconceptions by actors I work with. Some of them are understandable, others are baffling in their lack of logic.

For instance, some actors think they didn’t book a part because the casting director didn’t choose them. They clearly have a skewed idea of what casting directors do.

Doug Traer is a casting session runner, acting teacher and actor in Los Angeles, California.

Casting directors almost never actually cast anything. True, they may call actors in on a first call, arrange for them to attend a callback and book them if they are chosen. But as far as actually making the choices of who gets the part, casting directors may offer input and opinions, but they don’t choose the cast.

Casts are almost always chosen by producers, directors or agency people. So in that sense, a casting director is more like a traffic cop—controlling the flow of talent to be considered by the decision makers.

This is not to say that their job is easy or that actors should take lightly the idea of getting on the bad side of a casting director—heck, you don’t want to run afoul of ANYONE in show business because it’s bad karma and because you never know when today’s production assistant will turn out to be tomorrow’s Tarantino. Remember, he started out working in a video store.

So how do you get and stay on the good side of casting directors? There are several things you can do:

1.Make sure your headshot looks like you look now—not 3 or 5 or 20 years ago—NOW. Nothing is more annoying to a CD than calling someone in based on the online headshot and finding it was shot in the 1990’s. That means someone just took an audition spot that could have been given to an actor who has a chance of booking the role.

2. Be honest about your level of work. Casting directors will sometimes call people in who just aren’t ready with their skills level for the part being cast. If all you have is a year of community theatre experience, you’re probably not ready to carry a major studio film. So even if you read for that film, the CD knows you aren’t ready and that’s the impression you leave them with. I’m not saying they won’t call you in again, but it will probably be a few years because what they remember was you weren’t ready when you had the chance.

3.Be professional. That means being on time and prepared. Dressed correctly, sides in hand if theatrical, having researched the part and spent time preparing a well thought out read. If your commercial audition came through one of the online services, look for sides and learn or at least be familiar with them. Even if you don’t book the part, that kind of professionalism will get you called in again.

4.Don’t lie on your resume. Saying you were in “A Chorus Line” on Broadway when it was really in Waukegan might get you in the door, but when the CD learns the truth—and they will-- you’ve just torched that bridge. I personally saw a woman who listed riding bicycles as a skill on her resume, book a commercial in which she had to ride. Guess what? She got to the set and couldn’t do it. Producers had to get an emergency replacement for her, ended up suing her for half a day lost, and the CD was so enraged, he trashed her name to many of his peers. She not only shot herself in the foot, she got the calf, knee and thigh too.

5.Don’t appear needy—ever! Sending endless postcards, asking for auditions for parts you clearly aren’t right for, giving elaborate gifts, etc all indicate neediness (is that a word?) Nothing is less appealing.

6.Come in, do your audition as well as you can, then leave like the professional you want to be considered.

I also run into actors who tell me that this or that CD or session runner was “against them” or didn’t want them to be good.

How crazy it that?

A CD gets maybe 2000 submissions for a role in a network national commercial. They can audition about 100 of those for the role, which means one in 20 actors got a shot at the spot. They read your resume, carefully consider your picture in relation to what their client wants, and give you one of their precious time slots. They then send your picture and performance to their clients for consideration.

Why in the world would they not want you to be good?

The session runner wants you to be good, if for no other reason, to prove he can do his job well. It enhances his reputation and leads to more work—so naturally he wants you to succeed.

Of course, there are grouches among us. Some don’t really like what they do and it shows in how they interact with actors. On the other hand, many grow frustrated with how unprofessional and even infantile actors can be. But for the most part, we, too are actors. We take our jobs seriously and really want you to be good. So if you run into someone who is problematic, just smile and be the professional you are and you’ll get through it. When that audition is over, forget about it and move ahead.

Because if you think about it, what else can you do? Worrying or fretting about something you cannot possibly change is counterproductive at best, and can be destructive at worst.

Dwelling on misconceptions probably won’t cost you your head, like Marie Antoinette, but it won’t help your career, either.Keep your head up and your eyes always ahead. Stay positive and professional and good things happen to you.

About The Author: Doug Traer is a Casting Session Runner, Actor and Acting Teacher. Learn more about winning Commercial, Theatrical, and Youth Casting Rooms by taking online classes at Keep It Real Acting Studios!

The New Normal

Doug Traer is an actor, acting teacher and session runner in Los Angeles, California.

I don’t think anyone among us would not agree that things have changed in the last 7 months… A lot… A WHOLE lot. Our entire world has turned upside down and much of what we knew and took for granted simply is no more.

Fortunately, as professional actors we are accustomed to adapting to changing circumstances—albeit not to this degree—and so we are more pragmatic about it. For instance, most of us have some type of survival job that we work on the side. Unless we are in the food service industry, that’s probably still the same.

But one thing that has radically changed is the core of our industry, auditioning.
Mostly gone is the practice of auditioning in person at a studio—at least for the time being. So now we need to adapt to the idea of either remote auditions by Zoom or another video recording service, or self tapes. The latter practice, self tapes, has been around for years. Yet it’s surprising how many actors still don’t have a handle on it.

A close friend casts a lot of low budget films, and has shared with me some of the problematic self tapes he has seen. Some were so bad, I actually wondered if the actor was playing a joke on my friend. But no, the actors were quite serious.

In one, the actor started recording on the camera while he was off camera, then walked around and stood where he could only be seen on his left side from his neck to his belt and read the script. Then he walked out of frame and turned the camera off.

Another was recorded at night with a lamp directly behind the actor, so that they looked like a big shadow in the middle of a room. Seriously, you couldn’t see the person at all!

A third was apparently recorded near an airport with the windows open because you could hear airliners flying overhead better than the actor’s lines.

After watching each of these, I had the same thoughts: 1) Did the actors ever review the performance (if not, why not) and 2) if they did, were they thinking “That was good. I nailed it!”?
Now I’m well aware of the fact that most actors don’t know much about video production. And up until now, that wasn’t a necessary skill. But, again, it’s time to adapt to changing circumstances. Unless you are able to go to pros to record your auditions, you need to learn how to do it properly yourself.

First, choose your camera well. Self tapes shot in 4k are not only unnecessary, they are hard to upload because they produce HUGE files. Huge files do not make casting directors happy. Some cell phone cameras allow you to choose your resolution. So if you can, choose a resolution of 720k, which is on the low end of HD. I shoot most of mine on an iPad, which has a great camera and sound and switches resolutions easily. Or if you know something about video, change the resolution after you’ve recorded it.

Second is lighting. We must be able to clearly see your face during your audition. It doesn’t have to be anything crazy or expensive. A small ring light that clips to your cell phone or camera can do the trick. But shoot a test run then look carefully before shooting your audition. Can we see your face clearly? Will that lighting give you the best shot at the job?

While we’re on that subject, what does your frame look like? Performances should show the actor from chest up, again so we can see your face clearly. Don’t leave a lot of head room in the top of the frame and don’t cut off the top of your head, either.

Background should be neutral and non distracting, preferably near a wall. So if your brother decides to practice shadow animals, don’t let him do it on the wall behind you while you are recording.
And sound must be clear and non-distracting. If you don’t have an external microphone, I recommend keeping the camera as close as possible so the sound is good.

Eliminate background noise like air conditioning, leaf blowers, aircraft and your sister playing the clarinet. Turn off the AC, close the doors and windows and bribe your sister to go get an ice cream down the street, for just a few minutes.

And it’s always a good idea to have a good reader off camera to read other lines and start and stop the camera. So make a deal with an actor friend to help each other with self tapes and both of you will benefit.
I’m not going to get into acting choices because that is a whole different subject.

As far as Zoom or other internet auditions, many of the same things apply. Try not to do them in a busy or noisy room. Make sure there is light on your face. Watch your frame—top of the head to mid chest. Stay close enough to your microphone to have good, clear audio.

Also, dress for an audition. In other words, don’t just roll out of bed and get on camera in PJ’s with bed head unless that’s the character. Be properly dressed with hair and makeup done and if possible, your lines learned. If not, place your script beside the camera, not below you so that you have to keep looking down. Be sure to make eye contact with the camera when possible.

If you follow these tips, you will have a good, professional looking audition that will give you your best shot at the job. Good luck, and remember to enjoy yourself!

About the author: Doug Traer is an actor and casting session runner in Los Angeles, California. He currently teaches Teens Acting Class at Keep It Real Acting Studios.

The Key To Booking

Judy Kain is an actress known for The Odd Couple, The Fosters, Hand Of God & Much More!

Before each audition, it is absolutely essential that you do your actor preparatory work! This includes researching the project for which you are auditioning, making sure all of your audition materials are in order and, perhaps most importantly, breaking down the audition script!

Breaking down the audition script is imperative. It helps you make the imaginary circumstances of the scene more specific so you can bring life to the world of the scene, and to help develop unique characters. And this process can be done into four stages. 

Stage 1:  READ EVERYTHING…

Make sure you read the entire scene, descriptions and ALL the stage directions… Highlight words or locations you don’t understand and look up their meaning.  Get an overall sense of the material.

Now, you can move onto... 

Stage 2: Ask Questions

1. Where does the scene take place? 

   • Is it in my home or is it in public? Am I in a hot location or is it freezing? What time of day is it? 

      2.    Who am I?

• How old am I? What do I do for a living? Am I retired? Am I married? How many children do I have? What activities do I enjoy? 

      3.    Who is my partner? (Who am I talking to?)

• Am I speaking with my husband or my child? Am I speaking with an estranged relative or my best friend? How do I feel about this person and what experiences have we been through? It’s very important to be as specific as possible. 

      4.    Are there people, or incidents being discussed?

• The people and things being discussed may be just as important to your character as the people and things in the physical scene. Have an opinion. 

      5.    What do I want from my partner? And what is my tactic to get it?

• Knowing what you want is the most important choice you will make! How would you like them to feel about you? Once you have decided this, you can explore different tactics to get what you want that are appropriate for the scene and the character.

      6.    What has just happened in the scene?

• This is your moment before and brings you into the scene active and engaged and wanting something. 

This brings us to…

Stage 3: BREAK THE SCENE INTO BEATS / EXPLORE ACTIONS 

A beat is a section of a scene that begins when something changes… 

Breaking a scene into beats means breaking it into smaller bits. 

When exploring each beat, ask yourself, “How do your actions change?” 

Meaning....what tactics are you using to get what you need and to overcome the obstacles to that need?

A beat ends when you lose, win (based on your need) or are interrupted. 

Once you have read everything, asked questions and broken down beats, you can move onto…

Stage 4: Personalize The Script

It is one thing to understand the script on an intellectual level, but us actors need to go above and beyond analysis. Make sure that you personalize the script. Cast the characters in the scene with real people from your life. Choose personal memories that made you feel similar to how your character feels in the scene. Substituting characters, situations and feelings with your own personal experiences will contribute to you being more fully immersed in the scene. It will also help you respond naturally to the reader with whom you are auditioning.

I KNOW,

Breaking down a scene is a lot to digest, but if done properly, it will help set you apart at the audition. Casting will recognize you as a hard working person with the ability to make specific choices and a knack for nuance. I also believe that the more preparatory work you do, the more confident you will be. Confident in your lines, confident in your choices and confident in yourself. 

Booking The Theatrical Audition Starts This September! Learn more on the Keep It Real Acting Studios Website!

So, make sure you read your script, ask yourself questions, break down the beats of the scene and personalize the script. It may be a lot of work, but it will make the payoff of a job well done and booking the job so much more rewarding!

About the Author: Judy Kain is an actress, author, acting teacher, and podcast host. Her acting studio, Keep It Real Acting Studios offers online Commercial, Business, Branding and Theatrical Classes for actors of all levels. Judy teaches a class called Booking The Theatrical Audition, which helps actors develop the tools and techniques that book film and television jobs.

Being At Ease During The Virtual Audition

Virtual auditioning can be an uncomfortable process. At its worst, you are dealing with all the technical aspects, possibly for the first time, in front of casting, directors, and or producers while you hope that they will hire you for a job. At its best, however, virtual auditioning means you are networking with industry professionals while you get to do what you love! 

So, how do you avoid audition nerves and focusing on the negative? Make a game plan for your career and for each audition! Make sure you are as comfortable as possible given the strange realities of online auditioning. 

First thing’s first: Getting an easy, highly functioning in home set up is CRITICAL. Find a background that is plain and showcases you, not other things. Ensure you are lit in a way that highlights you, especially your eyes. As for sound, your sound has to be clear and an appropriate level of loudness.  MAKE CERTAIN YOU HAVE A STRONG INTERNET CONNECTION.

These are all things you can obtain, gather from your home, or purchase and achieve easily and inexpensively. Make no mistake, you will get your money's worth out of them. THIS IS THE ACTORS TOOL KIT for 2020.

Once you have a “Home Studio”, you can focus on the acting.

Here are some easy ways to build your confidence as a performer that will help you calm audition nerves and enable you to approach each audition with ease: 

1. Workout, stretch, or do a breathing exercise before every audition.

2. Be focused & pay attention to the directions given to you prior to your performance. 

3. Be prepared. Make sure you have made specific choices. Have sides memorized before you go to sleep the night before. Definitely know that first line and or moment to launch you into the scene. Focus on the person with whom you are reading with. 

4. Know your camera angles. If you do not know them, learn them.

5. Don’t be too big. Keep your performance grounded and truthful.. Don’t push to get to an emotional state if you are not feeling it.

6. Take improv classes so you are able to play with the copy if asked.

7. The camera picks up desperation & the feeling that you need this job so don’t be desperate. Just enjoy the fact that you get to act.

8. Listen and repeat the direction you are given (this is reflective listening).

9. Understand that direction is a good thing. Don’t panic if they ask you to make a change.

10. Know your words and how to pronounce everything. We all have access to Google, so there really is no excuse not to have done your homework. 

11. No imaginary eating.

12. Do not mime. Use a real prop if needed.

13. If you mess up the copy, finish until they say “cut”. After they say cut you may say… “Let me do another”

14. Be CONFIDENT! Not arrogant.

15. Keep your hair out of your face. This goes for both men and women. 

16. Don’t make excuses for anything.

17.  Own your audition, thank them, and go about your day.

About the author: Judy Kain is an actress, author, acting teacher and the owner of Keep It Real Acting Studios. She offers online business, branding, commercial and theatrical classes to actors of all ages.

Judy Kain is an actress known for The Odd Couple, The Fosters and much more!

Special Announcement!

Exciting news! As the entertainment industry changes due to COVID-19, Keep it Real Acting Studios has decided to exclusively offer virtual classes & services.   

As our industry becomes more virtual, we want to make sure we are staying current with industry trends. We will be offering our same wonderful classes, plus several new classes that will cater to every facet of being an actor in 2020.

As we close our physical office, we will be selling Judy's book, flash drives, chairs, cameras, and much more at affordable prices. Check our Instagram and Facebook pages for when Judy will be at the studio to conduct sales.

While we will certainly miss seeing you all in person, we are excited about this next chapter for Keep It Real Acting Studios.

Studio Owner Judy Kain is teaching many of Keep It Real Acting Studios’ Virtual Classes.

We look forward to this next phase and we are excited to work with you in one of our virtual classes! More information regarding our upcoming virtual classes is available below.

Commercial Classes:

• A-Z Commercial Technique (Monday, June 1st-Monday, July 6th): Taught by Judy Kain, this 6 week class covers booking techniques for every single type of commercial audition actors go on. Special emphasis will be placed on Self Taping and Skype Auditions. An agent or manager attends the final class.

• One Day Commercial Intensive (Wednesday, June 3rd): Attended by a top agent and casting director, Judy Kain’s class covers audition techniques that book commercial jobs.

Theatrical Classes:

Stacy Edwards teaches Ongoing Scene Study & Technique every single week!

• Ongoing Scene Study & Technique: Every single Tuesday from 7:00pm-10:30pm, Meisner-based actress Stacy Edwards works with actors on bringing truth to every scene they do.

• Booking The Theatrical Audition (Thursday, June 11th-Thursday, July 2nd): This 4 week class focuses on acing your film and television auditions. Actors walk away from the class feeling comfortable with the audition process and ready to book!

Business & Branding Classes:

Tom Burke teaches The Castable Actor Workshop and co-teaches Really, You’re Wearing That? With Judy Kain.

• Master The Self Tape (May 22nd): Judy Kain teaches you everything you need to know about filming an amazing self tape. After the course is complete, actors receive personalized feedback on their self tapes.

• Really, You’re Wearing That? (Friday, June 5th): Actress Judy Kain and Image & Branding Specialist Tom Burke help you choose the clothing that is right for your type and perfect for any audition, meeting and headshot session.

• The Castable Actor (Sunday, June 14th): Tom Burke helps you discover your unique type, brand and marketability.

Youth Classes:

• Kids and Teens Acting Classes (Saturdays, June 6th-Saturday, July 18th): 6 week classes dedicated towards helping young actors break down commercial, theatrical and improv auditions. The final class is attended by an agent or manager and videos of their final performances are sent to a Casting Office.

• The Next Step (Saturday, June 13th-Saturday, July 18th): 5 week course for 4-6 year olds focused on helping young actors master every type of commercial audition.

Donna Rusch, Doug Traer & Judy Kain teach our Kids & Teens Acting Classes. Next session begins Saturday, June 6th!

KIRA's Guide To Staying Creative While At Home

Keep It Real Acting Studios  is missing you terribly and hoping you are safe and healthy!

We have put together a list of things for you to do during the lock down to maximize your free time.

1. Film something fun and raw- just be yourself!

2. Take a Virtual Class to keep skills up!

3. Update all acting sites and pull down old photos that don't look like you anymore.

4. Check out Hollywood Winners Circle - Wendy Alane Wright will motivate you beyond belief.

5. Create a space for self-taping! Need help? Take Mastering the Self-Tape - a virtual class!

6. Learn a new skill on YouTube!

7. Read a book or reread a favorite- Suggestion I BOOKED IT!

8. Clean a closet.

9. Take another Virtual Class to keep skills up!

10. Go for a long walk in your neighborhood and say hello to everyone you see- 6 feet apart, please!

11. Send a fun Email to your agent or manager asking them how they are and share one thing you have been doing!

12. Clean another closet!

13. Take yet another Virtual Class to keep skills up!

14. Find a recipe that sounds yummy and make it. Then have a skype dinner with someone and share the recipe.

15. Watch commercials and pause them and really look at what people are wearing and how they have their hair.

16. Make on a photo book online with all your photos.

17. Call a friend who you have not seen in 6 months and see how they are.

18. FIlm something and post it on all your sites.

19. Reach out to everyone who viewed it or commented on it and thank them and see how they are doing.

20. Take a walk and pick some flowers for your home.

Keep It Real Acting Studios offers theatrical, commercial and business classes for kids and adults. Learn more about Keep It Real Acting Studios by visiting our Website or emailing keepitrealacting@gmail.com.

Staying Creative During Uncertain Times

I realize that these are uncertain times and it is important for us to take care of ourselves and each other, Safety and health have to be everyone’s top priority.

I, for one, am confused as to how to utilize my creativity and artistic energy when I am being asked to sequester myself from the peers and teachers who inspire me.

Available Classes: A-Z Commercial Technique, Casting Prep, Skype Coaching, Business Coaching, Pilot Season Prep, Ongoing Theatrical, Kids Acting Class. Teens Acting Class,

Besides catching up on watching commercials, TV shows and films that serve as both entertaining and educational, I have proactively set up many online virtual acting classes. at Keep it Real Acting Studios.

Online classes are a great way to work on your craft, connect with like-minded people and also give some much-needed structure to the week. Students are getting some wonderful training, socializing with safety, and saving time and money with no travel.

And Virtual Zoom class settings are an excellent way to get ahead of the crowd with on the spot training for the future. SKYPE auditions! Yes, you heard it here. I predict they will be more prevalent even after the curve flattens. Certainly, self-tape auditions will be the norm rather than the occasional occurrence.

Thinking positively, online acting classes are a way to accomplish, train and get ahead in your career!

Here is a link to check out all the virtual classes that Keep It Real Acting Studios has to offer. http://www.keepitrealacting.com/virtual-classes

Another great source is Hollywood Winners Circle with Wendy Alane Wright.

Wendy is a former talent manager and now one of the leading career coaches in the world!

She can guide you to where you need to be spending your time energy and money to further your career. Wendy has the answers! Not only does she shape your career, but she is one of the nicest, most nurturing humans on the planet BECAUSE SHE ACTUALLY CARES.

Check her out and what she offers here: https://sales.hollywoodwinnerscircle.com/hwc-mastercourse/

I am also sharing some sources for financial assistance if you are in need. Check them out below:

Industry Resources:

• The Actors Fund and the Actors Fund of Canada are not just for actors; they support everyone in the entertainment industry, including IATSE members. Check here to determine if you qualify for emergency assistance.

• Motion Picture Television Fund offers emergency financial assistance to qualified industry members, including IATSE.

• Hollywood Support Staff COVID-19 Relief Fund - Los Angeles is providing approved applicants with a one-time stipend.

• SAG-AFTRA Foundation and SAG-AFTRA Motion Picture Players Welfare Fund (MPPWF) can provide disaster funds for eligible SAG-AFTRA members.

• Employment Development Department (EDD) offers expedited unemployment benefits to those in California's entertainment industry who have lost their job due to the coronavirus.

• Musicians Local 47 has established an Emergency Relief Fund to Los Angeles Musicians Union members who are unemployed due to the coronavirus shutdown.

• Local 600 website (Cinematographers Guild) provides information for members.

• WGA Health Plan now covers online doctor visits to combat coronavirus.

• Food Banks: FEEDING AMERICA and Food Banks Canada.

Educational Resources for Children:

• The SAG-AFTRA Foundation's children's literacy program, "Storyline Online" streams videos of actors reading to children.

• In addition, Amy Adams and Jennifer Garner created #SAVEWITHSTORIES. You can watch your favorite celebrity reading children's books on Instagram and Facebook.

• Save The Children has helpful hints and suggestions on talking to children about the coronavirus, plus activities, learning opportunities and more resources.

• The Fred Rogers Center also offers tips on explaining this challenging time to children.

• Khan Academy can help with remote learning during school closures.

• Los Angeles County Library is offering temporary digital cards to use for all online resources, including watching television and movies.

Stay healthy and strong during this challenging time. Do not hesitate to reach out to me at keepitrealacting@gmail.com if you have any questions. We will get through this together!

About the Author: Judy Kain is an actress, author, teacher, and the owner of Keep It Real Acting Studios.

Nancy Allen on Breaking Into The Business

Nancy Allen is an actress best known for her roles in Carrie, Dressed To Kill and the RoboCop Trilogy. She sat down with Judy Kain on her podcast Hollywood Game Changers to discuss moving to Los Angeles, preparing for roles and being cast as Chris Hargensen in Carrie.

The following is an excerpt from Nancy Allen’s Hollywood Game Changers interview:

Nancy Allen as Chris Hargensen in Carrie.

Nancy: Here’s the game changer: It was 1975, and I started commercials in 1966 (which seems like a century ago). I woke up one day and I thought, “I can’t do it, I have sold everything there is to sell in commercials”. I remember that little scene I did in the movie with Nicholson and I felt that I wanted to do more of it, because I loved movies since I was a little girl. I thought to myself “I’m packing up and going west”. It was waking up and saying that I needed to make a change, and if I didn’t do it now, I’d never do it. That’s how I felt.

Judy: Did you know anybody in California?

Nancy: I had one girlfriend who had moved there. After I made the decision to go, I had talked to this one manager who gave me the names of five agents that I could call (the shy girl was used to cold calling at this point). I called the woman first (user-friendly) who didn’t have my picture in front of her (the manager was “theoretically” supposed to send my picture ahead of time). She asked how old I was, and I told her that I was 25, and she said “honey, you’re too old and you’re not worth the investment of my time”. That riled me up (which later, was a good thing). Commercials were a good training ground for me to think “okay, what’s next”, instead of “oh no, I’m crushed! I’m going to die!”.  Back to the story, I wanted to say “too old!? You haven’t even looked at me, I don’t even look like 25!”. I made the next call, then the next call until someone said yes to representing me. That agent basically did nothing. I said to him at some point, “do you need some pictures? After a few months I thought the whole thing was ridiculous. I wasn’t earning a living and I thought I should go back home so at least I could work. There was no commercial business in LA—almost NONE in those days. It was terrible! The commercials were mostly in New York and Chicago. I thought to myself that I would just get through thanksgiving and then head back. One day I was at the Beverly Hills Health Club for women and I was coming out of the steam room and I heard someone call my name, “Nancy? Is that Nancy Allen?” I turned around to see Harriet Helberg who cast me in many commercials in New York. It was so good to finally see a friendly face. She asked me who my agent was because she was casting for a movie. I gave her the name of my agent and she said, “oh that’s funny, I called him and he said he didn’t have anybody”. She went on, “look, it’s the last day tomorrow, you’re not going to get this part but at least you’re going to get to read for somebody, come pick up the script.” I lived in West Hollywood so I went to Culver City and picked up the script which was based on a book. I went to the library and got the book and stayed up reading the book.

Judy: People—note all of the things she did. She drove over and picked up the script. That’s what we used to do back then. There was no sending it online or googling it.

Nancy: Yeah, there was none of that. I read it and there was not a lot of information, so to figure out who the character was, I started writing a biography. I never learned that in the acting class but I was just so excited to have an opportunity. I went there and there was a line of so many people, two by two. It was the last casting and I was the last person of the last day to read. I did something and I heard the director laugh and I thought to myself “okay, that’s good.” Then I left and went home and felt really good that I had prepared, until I went into full on panic that I had left my notes of the biography there, thinking “OH MY GOD! Someone is going to see this! I’m so bad!” By the time I got home, there was a call saying that they were going to screen test me and that was Carrie! It didn’t come easy, I tested with one other guy (each person tested with two people). When John Travolta came in, I thought to myself “oh well, he’s going to get the part and I didn’t rehearse with him! I guess I’m done! Whoever rehearsed with him is going to get the part!” But—it worked out! It was days later on a Monday when I got a call from Harriett Helberg, who was whispering on the phone “Nancy, It’s Harriet, they’re watching the screening now of the test. You’re getting this part, they love you,” I hung up and called my mother, “mom, I got a part in a movie!”. The next day, my friend and I went to go celebrate with a champagne brunch and the phone rang, “Nancy, it’s Harriet, listen, I shouldn’t have said anything but the producer wants to keep looking, they’re going to go to New York”, and out of my mouth came “but I told my mother!”. That was November, months went by and at the end of January they booked me in a little part (there wasn’t even a name for the part in the script). They were all invited to the screening of this previous film the director did. Sissy is there, Irving’s there, Katt is there, John’s there, and I was there. They said “I guess we all got the part” and I replied, “nope, I didn’t”. The next day they called me back into read and I read with Amy and Brian told me I got the part. It was weird—I should have been really elated but I just said “oh, okay”.

Judy: Wow, You were up, you were down, you were in, and you were out.

Nancy: That can relate to anything you go out for, anything in this business. Never count on anything, but be prepared!

Hear more from Nancy Allen and other game changing industry professionals by subscribing to Hollywood Game Changers Podcast. Visit the Hollywood Game Changers YouTube Page to watch clips and full interviews with guests.

Prepare for your next theatrical audition in Pilot Season Prep on Tuesdays, December 3rd and 10th.

Paul Hungerford On How Improv Changed His Life

Paul Hungerford is one busy man. When he is not teaching acting and improv classes at Keep It Real Acting Studios, he can be found performing on Impro Theater’s Mainstage and starring in television, film and commercials shown around the world. His interests are broad, but as Judy Kain learned in her interview with Hungerford on her podcast Hollywood Game Changers, Improv is the key to keeping him motivated, happy and fulfilled as an artist in this wild wild western town called Hollywood.

Born and raised in Connecticut, Hungerford studied acting and film at Emerson College.  He went onto study classical theater at the British American Drama Academy in Oxford, England before starring in a number of plays, movies and commercials. It was not until Hungerford moved to Los Angeles that he even discovered improv.

Paul was busy auditioning and running casting sessions, when his good friend Gunnar Todd Rohrbacher said , “come over on Sunday. My friends are going to do some improv”. Little did Hungerford know that this simple invitation was going to change his life. Hungerford soon immersed himself in the world of making up stories on the spot. He became a full time member of Rohrbacher’s improv team, Captain Creepsicle’s Laughateers, performed at every possible opportunity, and was even mentored by the iconic improv teacher Cynthia Seghetti.  Before he knew it, Hungerford was a mainstage company member at the Impro Theater and teaching improv to students at Keep it Real Acting Studios and other studios around Los Angeles.

In retrospect, Hungerford understands that has been improvising his entire life . He would go on auditions and was “just so excited to act . I would read the lines and then just keep going.”Hungerford believes that all humans are “hardwired to tell stories”, and he encourages his students to use their innate abilities to their advantage in his  8 week Improv-A-Thon Class at Keep It Real Acting Studios. Each week, Hungerford focuses on helping students actively listen to their scene partners, make strong choices and feel honest emotions.  

Best of all? Improv-a-Thon’s final class is a performance for friends, family and industry professional. Hungerford believes it’s a great opportunity to show “an agent that you can stand on your own two feet. You’ve got confidence, you are outputting your creative material right off the top of your head and they see you can do it” 

For actors, Improv-A-Thon is a wonderful opportunity to express themselves creatively and “stay lean” in a town where their next job is never guaranteed. For humans, Improv-A-Thon is a fantastic way to tell all of those stories we are made to tell. As for Hungerford? He says that “Being an artist is a never ending journey of knowledge and growth.” and he looks forward to growing right alongside his students in the upcoming session of class at Keep It Real Acting Studios. 

Listen to Paul’s full Hollywood Game Changers Interview HERE. Learn more about the September 11th-October 23rd session of Improv-A-Thon HERE.

3 Things To MAKE SURE YOU DO!

I have been doing commercials for 40 years, and hate to sound like one of those veterans who starts every sentence with.."back in the day”...

Judy Kain is an author, actress, acting teacher and podcaster in Los Angeles, California. She has booked over 400 commercial roles and over 100 film and television roles.

But back in the day.... when you went to a commercial audition, they would always have a rehearsal with you before you taped. You would get at least one out before they would record to send it off to the powers that be. You could relax and know that any kinks could be worked out with the help of the session director before you recorded one for the director.

Now, rarely is there time to do a rehearsal before taping. Session directors are backed up, the sessions are tighter and thus less time to spend with the actors.

Often they will have a group explanation which is very helpful but the actor does not have the chance to actually say the words and do the activities themselves before taping.

1. So MAKE SURE you are prepared for the first take.

Say it out loud prior to going in. Find a corner off to the side away from everyone so you can actually say it. Go outside and do one full volume so you can hear what it sounds like. Make solid choices. Specificity is key. I always say make you you do your second take first. In other words be savvy and solid on take 1 so you can get great direction to do an even better take two.

2. Dress the part.

Even nice casual or at home casual should be given some thought. This requires that you watch TV commercials and know what the uniform is for your type and be sure to have those uniforms in your closet. Ideally you have seen your outfits on camera as well and can verify that they look good on camera and give the right first impression for you in your marketable roles. Back in the day... when I had 3-5 auditions a day, I would bring each outfit for each audition, specific to the spot or role and change in the car if necessary. Now I don't recommend changing in the car, but go in the bathroom and change your clothes and feel like the character you are auditioning for.

This always helps me, but most important, it helps the director, client and agency see you as the role. Eliminate any or all reasons for them to go to the next actor when you are the perfect choice in every way.

3. Button! Buttons book jobs!

In this day and age when improv is the name of the game, you have to be ready to add a little something to the spot to keep your life going and to show your unique personality through the character. Buttons have booked many a job subliminally. The client, director and agency hear it and think it is great, funny, amusing, and instantly like you. They may even add the button in to the script. And it is a way to stand out in a good way. It shows you are a smart thinking actor who is ready and willing and able to breathe fresh life into the scene.

Now that you know to prepare, dress the part and use buttons, it’s time to go out and book those jobs!

Judy Kain is the owner of Keep It Real Acting Studios. She teaches Advanced Callback, A-Z Commercial Intensive, What’s The Plan? and Really, You’re Wearing That?