Stacy Edwards' Insights on Acting

Judy Kain interviews Stacy Edwards

Stacy Edwards in SANTA BARBARA

Over the course of her career, Stacy Edwards has brought to life some beautiful & inspiring characters. From her early films, like “In the Company of Men”, to her time opposite Mark Harmon on “Chicago Hope”, she always brings such depth to her characters.

But Stacy’s talent does not end there, as she’s also an amazing teacher. Every week at KIRA, she teaches an Advanced Scene Study class with a selected group of students, where she’s able to delve into scenes and push their limits. Our studio is fortunate to have her heading up our theatrical department.

I sat down with her last Thursday, where she shared some of her insights on acting, exclusively for our blog.

Stacy Edwards in HOUDINI

Judy: 

How do you prepare for a role? How do you prepare for an audition? What are the differences?

Stacy:

Actually, I prepare for both the same way. I approach my auditions as if I were reporting to set. First off, it’s important to know what it is that you are saying. For me, this does not necessarily mean memorizing the lines, but rather understanding the intentions of my character - what isn’t being said, but needs to be. I always have to know what I am saying before I make choices. Once I know what I am saying, I make decisions about my history. And know what it is that I want from the other actor. The more specifics you make, the richer the scene is and the richer the encounter with your actor will be. And once you report to set or go to your audition, you simply trust your homework. I think some actors make the mistake that they think the audition doesn’t need the same focus as the prep for arriving to set. But it does, especially in this day and age.

Aaron Eckhart & Stacy Edwards in IN THE COMPANY OF MEN

Judy: 

What was your favorite project/role? Why?

Stacy:

A couple pop into my mind that I really enjoyed working on and have a special place in my heart for different reasons.

The first is “Vietnam War Stories – The Promise.” It was such a collaborative experience. All of us actors were very young, it was our director’s first film, our producer was a vet from that era, and the story itself was just so powerful. So, we really immersed ourselves and created a world for ourselves out in the high desert. It was a true acting experience – like our first high! (Laughs) It stands out for me more for the experience, and not necessarily my work.

When I did “In the Company of Men,” I had the pleasure of working with two, at the time, unknown actors. It was very small, shot in about ten days and we really relied on each other. It surprised even us when our small little movie did so well! We threw ourselves in 110 percent and it showed. It was such a wonderful creative chance to work as an actor.

I do have the good fortune of getting acting gigs and I don’t take those for granted; but I will say, the creative acting experience is kind of rare. It’s great to have those jobs, don’t get me wrong, but its rare that they feel so rewarding! And when one does come along its incredible... It’s why we do it!

Stacy Edwards with Mark Harmon in CHICAGO HOPE

Judy: 

What keeps you inspired?

Stacy:

You know, a lot of things inspire me and I don’t know if this is going to come off sounding pretentious, but I am inspired daily. I am inspired by my students. Their unwavering commitment, enthusiasm, longing and desire to be and experience, truly is inspiring. But I’m also inspired by daily beauty; music, gorgeous LA weather & my son. Those are things that make me feel deeply and those feelings make me want to act. So at the risk of sounding completely pretentious, (Chuckles) that is my answer.

Stacy Edwards in LAW & ORDER

Judy:

What was your most challenging role and why?

Stacy:

Honestly, for me, I find every role challenging. I’ll have my actor insecurities frequently pop up. Once I calm myself down and start doing my homework then I can start building on the character. It almost doesn’t matter what the character, I approach them all the same way and find each one a challenge.

Stacy Edwards in SUPERBAD

Judy:

Do you still train and take classes? Why do you think training is important to even the working actor?

Stacy:

I do still train. I wish I could train more often and there are tons of wonderful workshops and classes I would love to take. We are humans and not robots, which means we’re constantly changing. I’m not the actor I was at 21, just moved out here. I keep evolving.

It is a muscle to listen, to trust fully and to remember the right questions to ask yourself. You can only keep all of this fine tuned, if you keep honing it and continuing to do it. Class is a great way to do this. I currently meet with other actors to keep on top of our game. Reading plays and scripts is also a way to educate yourself. Any opportunity you have to allow yourself to go into that imaginary world, and train yourself to know how you would embrace the imaginary circumstances, is crucial to keeping your mind fresh. I can’t say enough how important it is to get into classes. I know it can be a financial burden but it is a definite need and a must for one’s career.

Stacy Edwards has been a working actor for 28 years.  In television she was a series regular on Chicago Hope, has appeared in the TNT movie, Houdini, and was on HBO's Vietnam War Stories.  She has guest starred on numerous series, including CSI, CSI: New York, NCIS and Grey's Anatomy to name a few.  In film she was nominated for an INDEPENDENT SPIRIT AWARD for her role in In The Company Of Men.  You can also see her in Primary Colors, Super Bad, and The Bling Ring. At Keep it Real Acting, she teaches Advanced Scene Study and Theatrical Thursdays - a cold reading drop in class.

4 Things Every Actor NEEDS to Figure Out If They Really Want to Work

Seriously…no matter where you are in your career, just starting out or entering a new category…before you have your headshots taken, or retaken…before you meet with an agent, or go into your current agent to discuss why you’re not going out more…before you go to any castings or more importantly, any casting workshops…if you want to work as an actor, you need to know your true image and marketability. In other words, understand who you are and exactly how you “fit” in the industry. BECAUSE…if you don’t “get” you, no one else is going to “get” you either.

You want an agent, a casting director, a director, etc., to look at your headshot or see you work and know exactly who you are and what they can do with you. A generic headshot, a generic performance, an audition in which you’re just trying to be what you think they want, will reap absolutely nothing. And if you think your headshot is going to land on someone’s desk and that they are going to snap you up and start developing you into a star…think again. No one has time for that anymore (unless you’re a breakout Disney tween).

So how exactly does one figure this all out? It’s not an easy process. Most of us have a difficult time exposing our true selves…and yet, it’s our true selves that set us apart from everyone else. In order to discover your true image and marketability, you need to be HONEST, REALISTIC, and SPECIFIC. This is why I strongly suggest actors seek help…and not from your mother, girlfriend, or roommate (they tend to tell us what we want to hear). You need someone who will keep you HONEST, REALISTIC, and SPECIFIC. Casting directors or consultants tend to keep it real…acting teachers are also a great resource since they not only know your work, but also know the business.

There are four steps to figuring out your image and marketability:

1.  Know your Type. It’s very simple: sex, age, physical description, and a couple main personality traits. Write a breakdown for yourself so that if a friend read it, he or she would immediately think of you…remember Honest, Realistic, and Specific.

2.  Know your Brand.  “Brand” just means what is unique and special about you. Think about it this way…when you’re at an audition and there are 25 actors all looking like you (same type) in the room, what do you bring to the party that they don’t? Be specific. I have dimples. I’m tall. I’m thin. I’m crazy. I have a rubber face. I am shy. I’m sensitive. I’m an excellent cook. I write poetry, etc.  Every aspect about you, both physical and personality-wise, sets you apart from all the others in the room making you unique and special within your type.

3.  Know the roles you can play TODAY.  Not what are the roles you want to play, or that you played five years ago, but what are the roles you can be cast in today? Watch television, movies, commercials, web series, etc. Look for actors your type, your age, and most importantly, your level of career. (If you are just starting out, you’re not about to be cast as the lead of a film.) Write these roles down, and make note of what those characters are wearing as well as their hair and makeup. If these are indeed the parts you will be auditioning for, you will want to incorporate those looks into your auditioning wardrobe (more on that another time.)

4.  Know what you will bring that is unique and special to each role.  Don’t make this more difficult than it is: take that list of roles that you can be cast in today and next to the role write down what is unique and special about you that you would bring to the role.  A very simple example would be for a role of “Mom.” Don’t try to think what kind of Mom are they looking for? What kind of mom are you in real life? (Even if you don’t have kids…how do you relate to children in your life?) Are you the mom that gets dirty with the kids? Or the mom that organizes everything right down to the last detail?  Playing your reality within the confines of the role will only deepen the character, so bring that “mom” to the audition, and definitely show that true image in your headshot session.

You are unique and special and awesome and amazing and no one can do you better than you. One gem of wisdom I try to impose on every actor I coach is this: You Are Enough. You don’t need to try to be what you think they want you to be, because in reality…they don’t know what they want. All agents, managers, casting directors, and directors want from the moment you walk in the room is an actor who knows who they are (image), knows what they have to offer (talent and marketability),  and who brings something unique and special to each role they play. They are looking for YOU…just make sure that you show up…to your headshot sessions, to workshops, to your meetings, to your auditions.

Now YOU get out there and start booking some jobs!

Tom Burke, working model and actor, teaches seminars and gives lectures on the importance of headshots and discovering an actor’s image. He is currently consulting and coaching at Keep It Real Acting Studios in North Hollywood, CA where he also teaches the exclusive classes: All-In-One Headshots Package and Not Just a Pretty Face. 

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What is your Goal in an Audition?

Nancy Linari in Cascade's "Kitchen Counselor" campaign as the judgemental mother-in-law

Someone once told me that actors have the wrong goal at auditions. He wasn’t talking about the character’s needs and choices, but what the actor in the waiting room wants that day.

To get the job. Of course, we all want the job, but this means that 99% of the people in that room fail.

As actors, we can spend a lot of time trying to figure out what “they” - the producers, the director, the writers, the client – want. So we try to adjust things about ourselves - our looks, our voice, our clothes, even our age – to become what we think they want. Sometimes we succeed in this, but often our audition doesn’t ring true. You can see the acting, when all you want to see is the character.

What if instead, our goal was to show the powers that be how we would do this role? What unique things we bring to the party? This doesn’t mean we are going to get every job; we are not right for every job. But we can succeed at each audition. We can leave the room knowing that we did a good job and will be remembered for it. Good auditions are like energy, they live on.

Nancy Linari has been a professional actress for over 30 years.  Her work can be seen and heard in both commercials and animation, on television and radio; from Bones to Modern Family, from ABC’s animated The Addams Family (the sexy Morticia Addams) to the Academy Award nominated The Social Network (the cranky secretary to the president of Harvard.)  Nancy has appeared in hundreds of commercials including Cascade, Swiffer, Honda, McDonalds, Bisquick and Walgreens.  Her voice over work includes national campaigns for Advil, Taco Bell, Radio Shack, Wal-Mart and California Avocados. She also works extensively in video games and is an award-winning audiobook narrator.

At Keep it Real Acting she teaches Youth Classes, as well as Commercial Wednesday Workouts.

How to deal with that Summer Slump

Recently. I had a surge of work fall in my lap. Well perhaps there was some skill and perseverance involved in landing them. But since then I have hit a dry spell in the booking arena. And what I find for myself and the actors who come to work with me is, while in a slump, self doubt creeps in, along with a desperate attempt to figure out what I'm doing wrong.

My advice is to reflect on the feeling you had right after booking a job: the sense of accomplishment, the joy of success, the walk with head held slightly higher, the bounce in your step, etc. Remember that, and only that, when you approach the room of your next audition. Some good, positive, self talk as if you just got off the phone with your agent and hearing the news of a booking can be very helpful and
change your frame of mind. It can totally alter your mental state... and nothing looks better on an actor than a recent booking!

Take a nice breath, even in the room, to connect to your success and then start the scene. Then start the work that you love to do.... Acting! Remember it is fun! Auditions, when you give 100%, can be tremendously satisfying. When we are not looking at the final result and just doing the work, we open ourselves up to our creativity and, ultimately, surprise ourselves!

This is why you got into acting to begin with, because you have a gift, a passion for the craft. So make that more important.

I also suggest getting another perspective from a coach or teacher when in a slump. Get a private coaching for an hour and see if there
are some old habits you have slipped back into. Or, discover another way to approach the copy that you had not thought of. It is always helpful to keep sides you have auditioned for, and use those when coaching to help pinpoint areas to work on.

Many times all that is needed is a boost of confidence, reassurance that you are making good choices and committing to them. Rarely, do we get any feedback from auditions and acting in a vacuum, in your own head, can bring on a big dose of self doubt.

Workout groups are great as well. Anywhere you can have the chance to get up and do copy and practice your craft is worth it. So when your agent does call, you are ready as rain to show up. ​Keep it Real Acting offers ​workouts every week, both Commercially and Theatrically.

Finally, take advantage of a get away this summer! A sure way to book a job is always to plan a trip; or if you can't get away, make a fun lunch date with a friend, or get that treat you've been denying yourself for a month.

Acting is a longevity game, and a slump can be put to good use if you use it wisely; reassess, get into that class, make a little time for fun, and then move forward. Remember, be kind to yourself and acknowledge your victories, because it's a surefire way to coast you to the next one.

Judy Kain has been a professional actress now for 37 years, (350+ commercials, 80+ Film/TV roles). She founded Keep it Real Acting, a studio dedicated to helping actors succeed in the business.

Read Her full bio here. She recently starred in a 26 commercial Campaign for STARZ, where she played a Superhero Hotline Operator.

She teaches Commercial A to Z, Advanced Callback and Wednesday Workouts at Keep it Real Acting.

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Judy Kain and Amy Lyndon discuss the secrets of Commercial Booking

Happy June Everyone!

I recently sat down with my good friend Amy Lyndon, where we talked about everything from from our recent work to the secrets we've found that help us book those jobs.

I've uploaded the entire conversation below so that you too can learn the secrets of commercial booking!

Enjoy,

Judy Kain

Amy Lyndon is a Multi-Award winning Actress, Director, Producer, Writer, International Booking Coach and CEO of the Lyndon Technique. Lyndon has 40+ films to her credit including; “And They’re Off” opposite Sean Astin, "The House That Jack Built” opposite Joe Mantegna, and "The Poughkeepsie Tapes" for MGM. On TV, she Guest Starred in over 30+ TV shows: “Adopting Terror” for Lifetime, “Law and Order: LA,” “Eagleheart” w/ Chris Elliot, “NCIS,” "Ugly Betty," "Entourage," "NYPD Blue," "JAG," Recurring in “Days Of Our Lives,” “The Bold and the Beautiful," "General Hospital," & "Young and The Restless." She Teaches Cold Reading & Booking Classes at The Lyndon Technique.

Judy Kain has been a professional actress now for 37 years, (350+ commercials, 80+ Film/TV roles). She founded Keep it Real Acting, a studio dedicated to helping actors succeed in the business. Read Her full bio here. She recently starred in a 26 commercial Campaign for STARZ, where she played a Superhero Hotline Operator.

She teaches Commercial A to Z, Advanced Callback and Wednesday Workouts at Keep it Real Acting.

Are you prepared for your Auditon?

You’ve memorized your lines. Great. That is a very important step, but it is only one small step of a larger process. Don’t shortchange yourself by skipping the rest. Below is a guide to help you cover the bases of audition preparation and give your character the tools to live truthfully within any circumstance. In other words, this is a guide to help you do your homework.

1. Know the Tone
What is the tone of the show, of the world you will be living in? Do your research. If it’s TV, watch the show! If it’s film, see if you can find something else by that writer or director. If none of these references are available, make logical choices based on the script. What is the atmosphere of the show and particularly, of your scene? What is the Tempo? Rhythm? Is it Drama? Comedy? Light? Dark? Do the characters power through their situations or does the show encourage long shots where the characters indulge their feelings? Know what world you are entering before you start!

2. Know your Role
Where do you, as your character, fit into this world? What purpose do you serve? What is revealed, discovered, or established in this scene that might be important to the story line and what role do you play in that? Look for moments of discovery within the scene. Is there a moment where something shifts? Is there a reveal? Make smart choices based on this information.

3. Know your Relationships
What is your relationship to the other character(s) in this scene? Be specific and in-depth with your answers. Saying, “He is my boss” is not enough. Saying, “He is my boss and the sight of him makes my blood boil. Nothing I ever do is good enough for him and I a F-ing sick of it!” is much more helpful. Not just, “He is my husband” but, “He is my husband and even though we are supposed to be professional right now I can still smell his hair and feel his warmth from when we were in bed together 20 minutes ago.” Or “He is my husband but I think he’s lying to me about something so every time he looks at me in earnest, I feel betrayed.” The point is, build a relationship rather than simply titling it. There is no way to overemphasize the importance of a clear relationship and strong points of view.

4. Establish Need and Approach
What do you need from your partners in the scene? Make strong choices. What will happen if you don’t get what you need? What will happen if you do? Use your talent and imagination to build circumstances for yourself that strengthen this need.

Why? Why do you need it? Why from this person/ these people? Why NOW? Why is it important?

How? What are you DOING to get what you need? This is where actions come in. DO SOMETHING to the other person to get what you want. Put your focus on your partner. Beg, convince, educate, mock, tease, belittle, guilt, befriend. Choose one or many things to DO. Acting is DOING. Try out different actions and see if they work. If they don’t… try new ones!

5. Test your choices
Rehearse! Once you are solid in your Given Circumstances and you are familiar with the script, REHEARSE. Keep working until everything you do/say/feel is inevitable for this character in this situation. Put your focus on your partner and go after what you need. Track their responses (these sometimes need to be created by you) and react in the moment. By this time, you know who this person is to you and what you need from them. GO AFTER THAT! Allow yourself to trust your choices and be alive in the moment. If something isn’t working, adjust one of your choices and try again. Do not skimp on your preparation!


Always consider it an honor to be given the chance to act and to reveal the humanity of any character. Take your job seriously in the way that you prepare. Then, in the room, LET GO. Learn to trust your preparation and live truthfully in the moment within the dramatic circumstances you have created.  Trust yourself. Trust the work you’ve done. Trust your talent. Only when you put in the effort this work deserves can you be truly confident in what you have to offer… And if you are confident in what you have to offer… Others will be too! Now, go knock ‘em dead!

Suzanne Schmidt has spent her recent years acquiring a Masters in Acting while simultaneously teaching and coaching acting at Northern Illinois University.  She has a background as an actress, director, singer, theatre company co-founder and producer.  Before moving to Illinois, Suzanne spent years as a working actress in Los Angeles and you can see her in the upcoming season of Sons of Anarchy.  Suzanne is trained in and thus her coaching is inspired by the methods of Constantine Stanislavsky, Stella Adler, Sanford Meisner, Michael Chekhov, Catherine Fitzmaurice and Lloyd Williamson.  Suzanne's goal is to help her students establish the truth within their character’s given circumstances while realizing the inevitability of the words and actions of their character.

Suzanne Teaches A to Z Theatrical and Theatrical Thursdays at Keep it Real Acting.

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Booking is a Separate Beast

In all the years that I have been working as an actor, I cannot recall ever completely duplicating my audition during a shoot. Inevitably something gets changed. So much so sometimes I think to myself, "This is so different from my audition, why did they even pick me?" The answer is simple. Booking is a separate beast! When you understand that booking a job is not necessarily how you're going to shoot the job, then you will start separating out the two and see booking as it's own art form. Trust me on this guys, I have booked over 40 films and 30 television shows in addition to helping actors book when I was a personal manager for 9 years and personally coaching 1000's of actors over the years and witness them booking big jobs!

So what constitutes a booking? Well, it would take an entire "War and Peace" gigantic book to describe that one to you, but what I will tell you is that you have to be dynamic. Actors are so afraid of "going over the top" that they actually put a cap on their own performance. Did you know that 'going over the top' is simply not being in truth? If you are in EXACT TRUTH according to the writer's intent and you are in the tone and style of the show or film, then why are you hitting it at a comfortable 7 when you should be hitting it at a 10+ to take the job? Why get all dressed up and inconvenience yourself to get to an audition and not go there to book it?

Instead of running your scene with anyone that will help you and flattening the hell out of it, why not section out your script and work your transitions and see if you actually know where this is for you and if you understand exactly what you are saying and feeling? Look for the transitions and keep switching them effortlessly like a precision driver. If you run the lines, then they will sound like lines run.

Another thing that constitutes a booking is, knowing what you are doing. Why would anyone hire you if you don't know what you doing? Trust me, the last thing a casting director wants to hear from their boss is that they messed up by bringing you into their producer session and onto a set when you didn't know what you are doing.

Also, are you prepared to shoot the scene right there in the office? If not, then don't go to that audition. This is an add water and stir business people. I'm sorry, but no one cares about your process. Are you there to deliver the goods or not? Stop thinking that you're going to get a second take or an adjustment to help you hit it exactly where they want you to be. If 6 actors are brought in for one job and 5 actors get it on the first take, why would they bring back the 6th actor who needed an adjustment? Be logical. Look at this business as a business. If the tables were turned, would you do business with you? Are you conducting yourself as a business? Are you really ready to work? This isn't a joke. This is the real deal. Information is power! 

Here's to booking big!

xoxo

Amy Lyndon

Amy Lyndon is a Multi-Award winning Actress, Director, Producer, Writer, International Booking Coach and CEO of the Lyndon Technique. Lyndon has 40+ films to her credit including; “And They’re Off” opposite Sean Astin, "The House That Jack Built” opposite Joe Mantegna, and "The Poughkeepsie Tapes" for MGM. On TV, she Guest Starred in over 30+ TV shows: “Adopting Terror” for Lifetime, “Law and Order: LA,” “Eagleheart” w/ Chris Elliot, “NCIS,” "Ugly Betty," "Entourage," "NYPD Blue," "JAG," Recurring in “Days Of Our Lives,” “The Bold and the Beautiful," "General Hospital," & "Young and The Restless." She Teaches Cold Reading & Booking Classes at The Lyndon Technique.

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Build your Online Audience: Part 1

There are a tremendous amount of resources available for actors today. We are all aware of Facebook, Twitter, Instagram, etc…and we know how to use them in our personal lives. However, it’s important to realize that these mere social media outlets are brilliant, golden tools for promoting your career as an actor for exposure. The word to emphasize here is: exposure.

Whether you are Tom Hanks or John Doe, every performer can be a “celebrity” in their own capacity. No matter how big or small the project you are doing, it is of utmost importance that you share it online. If you show the world you are constantly working, then the world will be excited for you and support you. While there are a number of ways to build a fan base & promote yourself online, today I’ll focus on one: the Facebook Fan Page .

Facebook Actor Page

It is very easy to make a “Page” on Facebook in addition to your personal page. You can call it an Actor Page, a Fan Page or just your name with specifics that you are an actor. What matters is the consistency of how often you use this page:

-Invite all of the friends from your Personal Page to “Like” your Actor Page. Some people may not at first, which is fine, try inviting them again later on. You’re not annoying them, just being persistent. Stop at nothing.

-Post everything you are doing as an actor. New headshots, set photos, clips, reels, YouTube videos, selfies in your costume, set photos, behind the scenes pictures…there are endless possibilities! You can also tag your projects by using “@” in front of the title to help the project itself get exposure, if they have a page as well. They will appreciate it!

-Display your actor links (IMDB, Website, etc.) in the “About” section! This is a useful section to promote your online presence as an actor. You can put two links in total, and when you do they will be displayed under your profile picture at the top of your Actor Page. To do this, click “About”, then click the “Page Info” tab, and put your links in the “Short Description” box. This may take some trial and error because sometimes links don’t always fit and have to be shortened. Once everything is up and running, your page will look professional For links to display, I would suggest your Actor Website and IMDB page but you can also put your casting profiles (Actors Access, Lacasting, Nowcasting, Casting Frontier).

-Sponsor your Actor Page to get more Likes and/or promote your posts. This is what Facebook calls Sponsorship. It does cost money, which isn’t for everyone, but you can choose the amount you want to spend from $2 upwards. I’ve found it to be totally worth it. If you are getting people who don’t know you, but like your work, that is a good sign for the lack of bias. If you want a maximum amount of Likes and exposure, you will probably need to promote your posts. The reason is: people have TONS of posts popping up on their Facebook newsfeed. So, by promoting you are simply making your posts more visible to them among the other thousands they see.

-Be careful when sponsoring your Facebook. You may get messages/posts from people you don’t know. If this occurs, it is up to you whether or not you want to allow strangers to have contact with you. If not, you can change the settings of your page by going to “Edit Page”, and then “Edit Settings”.

Overall, the Facebook Actor/Performer Page will give you your OWN audience. As you book bigger projects, your initial fans will take pride in discovering you first…and people love that. Go for it!

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Justin Sorvillo moved to Los Angeles to study at the two-year conservatory, The American Academy of Dramatic Arts. Following his graduation, he became involved in several regional theater productions on stages including South Coast Repertory and The Geffen. He has performed in many independent films, web series and other ambitious projects. His latest credits include a supporting role in the sci-fi feature film, Space Command: Redemption featuring Mira Furlan & Bill Mumy.

*Check out his Actor Facebook Page here: Justin Sorvillo Facebook

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The Importance of Camera Awareness

As actors, we have a lot to do and a lot to remember during an audition—mainly to give a real and credible performance of our character that wins us a callback, and perhaps the job.

But just as there are different types of roles, there are different types of auditions. Reading for theatre, for instance, usually involves auditioning in the theatre for the casting director, director, producers, etc. Because it’s theatre, you would reasonably be expected to know to play to the house, meaning your vocalizations and gestures would be a little bigger, so the last row of the audience could see your work.

But commercial auditions are virtually always on camera, as are some TV auditions nowadays. As actors, we need to be aware of how that should affect our performances. Surprisingly, I find that most commercial actors do not take that into account, and their audition suffers.

When auditioning for the camera, think of it as the audience. As in theatre auditions, you play to that audience. Because the camera and microphone are closer, you won’t need to project or gesture grandly to be seen or heard. A zoom lens can move the audience within inches of your face, so your acting can be more natural and subtle.

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In a theatre performance, the audience sees you in 3D—our eyes perceive height, width and depth. But the video camera only records a 2D image. Add the fact that most commercial audition facilities have very flat, unsophisticated lighting and you can see why camera awareness is important.

So how to compensate for these problems? There are a number of simple tricks that will maximize your audition potential. First, take the room into account. Where is the camera? The microphone? Where does the lighting end? The mark on the floor will usually tell you not only where to stand, but how to orient yourself to the camera.

Now that you know where it is, play to the camera. This means that while in life, you might look directly at the person you are talking to, on camera that isn’t necessarily so. Because if you do and the other actor is on the same plane as you, we see you in profile only. So I direct actors to “cheat out,” meaning play their lines and reactions where the camera can see them 3⁄4 faced. When you look at the other actor, your upstage eye should focus on their downstage eye, which opens you out. And always remember, you don’t have to be looking at someone to hear them or be heard by them.

Another way of doing this is to give yourself a point of focus out near the camera. For instance, if you are talking about a car, put the car in the cue card, or under the camera.

Notice the height of the camera. If it is above your chin, raise your chin just slightly to compensate. If it is below your chin, lower your chin accordingly. That way, we don’t get a shot that features a look up your nose or one that magnifies your forehead. Ladies, if you have a part in your hair on one side, try to use the side that favors the part, not the side with the most hair. If you must use that side, be sure to put your hair behind your ear or tie it back and cheat out.

Ask the director what your frame is and you can better gauge the size of your performance. For instance, if you are being shot in a closeup, actions and expressions can be smaller and the camera will still get them. Whereas looser shots will give you a bit more freedom.

Look at the lighting. Where does it end? Stay within that pool of light. Don’t come too close to the camera and be sure you are not saying your lines off camera. A good rule of thumb is to not begin speaking until your have hit your mark.

You can practice these techniques at home with a video camera of any kind. Even a cell phone camera will work. Set it up, get some commercial copy and become accustomed to playing out to that camera. Then review your work. See what works and what doesn’t. Then put what you learn into practice and see the difference.

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Doug Traer has been working in film, television, theatre, and commercials for the past 26 years. His film credits include Robert Miller’s “Brenda Starr,” the critically acclaimed “Speak of the Devil” and the black comedy “Dead Giveaway.” He has had multiple roles on “General Hospital,” appeared in “America’s Most Wanted” and “Saved by the Bell,” among others. He has made a number of national TV commercials for products such as Mercedes-Benz, Sony Playstation, Sprint, Blue Cross Insurance, Baskin Robbins Ice Cream and Hardee’s Restaurants. In addition to his acting gigs, he works as a commercial casting director, session director and teacher at Keep it Real Acting Studios.

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Your Unique Experience brings your Headshot to Life

 Life experiences have enriched the actor giving them a depth in their character which, in turn, make them centered and give them the willingness to try fresh approaches in their photo shoot. These life experiences add a vibrancy and different dimension to the session, creating a strong image. Subjects that exude confidence are easily transmitted to the camera. This is the unique personality we want to see in head shots.

Now let’s focus on the concerns during these shoots:

• Before a photo shoot, one should decide what you want in a photograph and know your essence and how you are marketing yourself. Be realistic with your type considering your age range and play to that. 

• Access specific thoughts and feelings during your shoot. Put people in the camera who bring out different dimensions of your personality. Don't rely on just your clothes. Spend some time preparing for the shoot by knowing who and what will make you trul smile. We will see the genuineness of this in the eyes.

• If one decides to do their own hair/make-up, one should come camera ready and bring accessories to switch it up. Natural looks are the trend nowadays so keep the make-up to a minimum and hair should be natural. It should be you on a good day. Not you looking your very very best. Remember you want to come to the audition looking like your photo so it should be easily repeatable.

• Bring an array of clothes that are appropriate to create the “look” one is aiming for. Focusing on the top half of your body. A good idea is to spend time looking at magazines, and TV  and see what people in your category are wearing and use that as your guide.

• Generally, men don’t need to have their make-up and hair done. I find that nothing strips the masculinity out of a good shot than poorly applied make-up. With that said, it is better to go without. All they need to bring is a light, translucent powder to cover up hot spots. Also, keep a razor handy to trim beards.

• Headshot format cropping is generally referred to as a “1 or 2 button shot” from the collar down. Remember that nothing is missed in this” tight shot” and any “bad” make-up/hair will be captured on this high resolution file.

On my next blog, I will share some of my more theatrical  “edgy, dangerous, James Bond-ish” studio lighting styles.

Dan Chapman
Studioheadshot.com
323-462-3200

Daniel Chapman has been a successful photographer in Hollywood for over 20 years. He brings with him a wide array of shooting styles utilizing studio and natural light. Celebrities like Tasha Smith (For Better For Worse), Eva Langoria (Desperate Housewives), Dominic Monaghan (Lord Of The Rings/Lost), Hollie Robinson Peete (Actress/Singer), Elmarie Wendel (Third Rock From The Sun/George Lopez Show), Natalie Dressell-Reid (Eve), to name a few, have tapped his expertise in having their pictures taken.

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