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9 On-Set Tips for Kids, Parents and Newbies

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By Marci Liroff

Having just spent the last couple of weeks coaching my 10-year-old client on the set of the new CBS series “Extant,” I got a bird’s-eye view of the issues that kids face when working on set for the first time. My client had only shot short films, music videos, and commercials and was somewhat new to a project of this scale. There was so much to learn!

These tips are great for young actors (and their parents) just starting out.

Shhhh! Keep your voice down!
Kids get very excited on set and like to tell stories in a loud voice. It’s hard with all that kid energy! Remind your child that even though it looks like lots of fun, everyone around him is working intently and needs quiet to concentrate. You will always hear the first A.D. (assistant director) yelling, “Quiet on set!” Be aware of your surroundings, as there will constantly be heavy equipment being moved near you and you could get hurt.

Where are you?
Let the second A.D. and/or welfare worker know where you are. Even if you’re just going to “crafty” (the craft service table), check in and let the A.D. know where you’re going at all times.

Be respectful and polite with crew members.
The phrases “thank you,” “please,” and “excuse me” go a long way with the adults your child is working with. Be polite and make friends with the crew because you will see them again on other sets and you want them to remember you fondly and professionally.

No playing on set.
No playing on “hot” sets because they are prepped for a scene and things should not be moved or tampered with. Plus, some things (ladders, walls, windows) are not “real” or fully secured. Even though that couch looks comfy, you shouldn’t sit on set furniture.

Learn how to read a call sheet.
I taught my client (along with his mother) how to read a call sheet and now they know exactly what is expected of them each day and the coming day. Start focusing on scene numbers rather than page numbers from now on.

You said what about the lead actor?!

Please remember, you’re wearing a mic! Be careful what you say on and off set, because the sound department and everybody else who has earphones on can hear your every word!

Careful where you sit.
If it has someone else’s name on it, don’t sit in the chair. You’ll be very embarrassed when the executive producer asks you to get out of her chair. Only sit on chairs marked “cast,” or, if you’re higher up the food chain, with your name.

Who’s got the kid?
Kids can’t just walk off by themselves while on set. Minors must be with an adult at all times while on a film set, whether it’s their guardian, welfare worker–teacher, or sometimes the A.D. or wardrobe person.

Leave your entourage at home.
Would you bring your friends to your place of work? Probably not. Don’t bring family or friends to the set either.

These are but a few of the things I observed during my time on the set; I’ll be writing about more in my next blog.

What other handy tips can you add to this list?

Make sure to check out my new online course “How To Audition For Film and Television: Audition Bootcamp”. You can view it on your laptop or your mobile device and your subscription gives you lifetime viewing privileges for this course. I’ll be adding lectures throughout the year.

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Google Is Your Friend

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By Marci Liroff

When my casting director colleagues are asked, “What is the one thing you tell actors to do before their audition?” they unanimously reply, “Preparation!” I often write about preparation, as it is key to a good audition or an upcoming job, whether it be in acting or another field. In my article “How To Prepare BEFORE The Job” I talked about what you should bring up with your representation (and yourself) before committing to a gig.

Preparation comes in many forms. You’ve learned your lines and are off-book. You’ve made distinct and unique character choices. In addition, you’ve researched the filmmakers, so you know their credits and expectations based on their previous work.

I continue to be shocked by how many actors come in either for a coaching session or an audition and spout lines about a subject they don’t know anything about. Worse, they are reciting words and they don’t know the meanings.

As an actor, you are asked to interpret the material. If your character is meant to talk about a topic that you know nothing about, I expect you to look it up and do the proper research. I want you to know it inside and out. On the rare occasion that the director might ask you to riff or do some improvisation, wouldn’t it be great if you’ve already done extensive research on this topic and you’ll easily be able to talk about it as your character? Those who don’t are caught with the “deer in headlights” look plastered across their faces.

Likewise, I’ve had several instances when I’m auditioning an actor and they don’t know the meaning of the words they are saying, nor how to pronounce them. When you mispronounce a word or don’t know the meaning or intention of what you’re saying, it lacks conviction. It takes me out of the scene and I stop believing you. As much as casting directors say that we want you to get the job, you lose us when you don’t do the simplest bit of homework. Correct pronunciation is the most basic part of your preparation, and it never ceases to amaze me when an actor doesn’t take this essential step.

Imagine you are a doctor who is performing surgery tomorrow. I will bet that you’d do research and reread the latest literature on the procedure. This is your job, folks; this is what you have chosen to do for a living. If you try to take shortcuts then that is the career you’re going to have. I can guarantee it.

What about you? What steps do you take to prepare? I’d love to hear your thoughts.

Make sure to check out my new online course “How To Audition For Film and Television: Audition Bootcamp”. You can view it on your laptop or your mobile device and your subscription gives you lifetime viewing privileges for this course. I’ll be adding lectures throughout the year.

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ARE YOU FRYING YOUR JOB PROSPECTS?

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By Marci Liroff

There’s an epidemic going on and I had no idea it actually had a name. The culprit is “vocal fry.” Not only is it annoying but it’s ruining your chances of getting hired—not just as an actor, but for any job.

Vocal fry is the result of pushing the end of words and sentences into the lowest register, where the vocal folds in the throat vibrate irregularly and allow air to slip through. The result is a low, sizzling rattle underneath. (Kim Kardashian is the queen of vocal fry, but now that I’ve pointed it out you’ll probably hear it everywhere.) For a great example, look up actor and national public radio host Faith Salie’s vocal fry video on YouTube.

Sociologists say women and girls pick up this bizarre vocal pattern because it makes them feel like part of a macroculture.

Recent studies have documented its growing popularity among educated and successful young women in the United States, but this learned behavior might be frying their job prospects. According to researcher Ikuko Yuasa, vocal fry may be the result of young women striving to reach the male register by imbuing their speech with gravitas.

Not only is it irritating to listen to, but you may be permanently ruining your vocal chords. As an actor, your voice is gold and it must be protected at all costs. YouTube star Abby Normal reports in her video: “This sort of vocalization can cause more harm to your throat because your vocal chords aren’t smoothly rubbing together; they’re more clapping…it’s like whispering. Instead of a nice, even flow, you’re creating more friction on your vocal chords.”

And there’s another vocalization that, while not harmful to your voice, is harmful to how people perceive you: “Uptalking,” also picked up from friends, is a way of ending your sentences with a vocal inflection that turns up at the end like a question. I tell my coaching clients and those who are auditioning for me that uptalk results in the listener not taking them or their content seriously. I vocally show them through mimicry the importance of ending their sentences definitively, rather than sounding as if they want to communicate a point without being too decisive or potentially ruffling feathers. Uptalk is very passive-aggressive and it isn’t helping anyone in an audition, a business setting, or a personal setting, for that matter.

This passive-aggressive tone is said to have origins in California “Valley Girl” culture, but D.C.-based vocal coach and speech pathologist Susan Miller says the uncertain, youthful tone has moved across states and genders—despite the assumption that women are the prime culprits. “I would say that the majority of employers come to me because people sound young,” says the coach, who trains employees to sound more professional. “And it’s the uptalk, the uncertainty, more than fry.

“Voice is important to show authority, to show that you’re confident and you know your subject matter,” Miller adds. “It can be the deciding factor between getting a call for a second interview or being passed over for someone else.”

Linguist Robin Lakoff drew attention to the pattern in her book Language and Women’s Place, which argued that women were socialized to talk in ways that lacked power, authority, and confidence. Rising intonation on declarative sentences was one of the features Lakoff included in her description of ‘women’s language,’ a gendered speech style which in her view both reflected and reproduced its users’ subordinate social status.

Take a moment and listen to your vocal patterns by recording yourself having a casual conversation with a friend. Are you guilty? If so, stop it! Ask your friends, coach, or acting teacher to call you on it so you can be stronger in your auditions.

Do you know people who do this? If so, send them this article and help them become more conscious of these vocalization patterns.

Make sure to check out my new online course “How To Audition For Film and Television: Audition Bootcamp”.

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