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How to Be Superstar on Set

Photo Source: Margaux Quayle Cannon

By Marci Liroff

Working on a tv series over the last three months has reminded me how much knowledge actors need to work on a set effectively. From what I can see, most acting classes don’t teach this.

Know your lines: You’d be surprised how many actors get hired and come to set without knowing their lines. If you don’t know your lines inside and out, you won’t be able to hear and institute the director’s direction because you’ll be too busy trying to remember what to say. Be prepared for changes in the dialogue. In some situations you will stick to the script exactly. In others, you may be encouraged to improvise or to catch the “happy accidents” that may occur. That “lightning in a bottle” may slightly change the dialogue and you have to be on your toes to fold in those lines into the scene with ease. Also know that your performance should be exactly as it was on your audition and rehearsal. Now is not the time to try out something new.

The marking/blocking rehearsal: When you arrive on set you will run through what’s called a “marking” or “blocking” rehearsal. In this rehearsal, the actors run through the scene with dialogue and, along with the director, sort out what the action is within the scene. For instance, you come into the room, say a line to your girlfriend, grab your keys and phone, walk to the door, your girlfriend joins you there for a goodbye kiss, and then you exit. While you’re doing this, someone from the camera department is marking every place you go with tape or little bean bags on the ground. You’ve got to hit those marks consistently and without looking so that you’ll be in focus and lit well when doing your scene. You also must manage your continuity. Continuity is when you repeat actions in the exact same order, along with saying your lines in the same spot and making sure to have your phone and keys in the same hand for each take. The script supervisor is also tracking your continuity to make sure that all your takes are identical so the editor can cut them together for a realistic scene. You don’t want to be the actor who is a nightmare for the production because nothing cuts together.

Pace yourself:

I think the biggest misconception about shooting is that it’s action-packed and fun filled.

When I say that there’s a lot of hurry up and wait, I’m being kind. You will often find yourself with a call time of 6am and only have one scene and one line that doesn’t shoot until 4pm. You have to learn to pace yourself so that you’re ready and fresh when they finally do get to your scene. Have plenty to do – you can bring a book, knitting, or whatever you like to do to pass the time but stay close by and alert. A production assistant will come get you from your trailer when they’re ready to shoot your scene. If you leave your trailer for any reason, or walk off the set, make sure you tell a P.A. where you’re going so they can find you at a moment’s notice.

Know the lingo: As I’m sure you’ve noticed if you’ve worked on a set, there’s a very specific language used on set that can make you feel like you’ve walked into a foreign country. Once we’re shooting, things are very fast paced so it’s crucial to understand this lingo so as not to slow things down. I created a list of some of the most common words I hear on a set, along with some oldies but goodies!

Some new terms you’ll hear on set these days are:

“Take your masks off/on” – while acting on set you are required to wear a mask at all times except when you’re shooting. The A.D.s will tell you when to remove your mask and when to put it back on.

Zone A and testing – because of the virulent spread of the Covid-19 virus, production has taken great pains to keep everyone healthy. If you’re in Zone A (an actor or anyone who works in close proximity) there will be lots of testing if you’re working regularly on a show (I get tested every other day because I’m in Zone A).

Gone are the days of feasting on the table at craft services. Now, you’ll order your meal from a menu ahead of time and all food is individually packed and no touching the craft services table. Someone from that department will hand you what food you request.

Make sure to check out my 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.

Warning: I grant permission to share my blog as written with no additions or deletions. Posting my blog is in no way an endorsement of another site unless you obtain my written consent.

Here’s What’s Happening Behind the Scenes After You Leave the Audition Room

Photo Source: Margaux Quayle Cannon

The ins and outs of a casting director’s process can often be a mystery, but I’m here to break it down for you.

As CDs, our job is to collaborate with the filmmakers to bring their project to life by finding the perfect ensemble of actors. Sometimes, projects are simply offered to me directly; other times, I have to do the same dance that you do and audition for the job! I read the script, research the filmmakers, and come up with a few lists of casting ideas to give them a concept of how I’d cast their project. There are so many talented casting directors out there; in the end, it comes down to who you want to spend the next three months with going into war, tied at the hip.

For films, I get a script and break it down by the characters. I sort out which are the leads, and which are the day players. Those determinations are usually made by the size of the role and how long they work in the schedule. Because so many movies are shooting out of town due to various states’ tax incentives, I usually cast only the leads and co-stars out of Los Angeles, New York City, or London. The supporting cast and day players are cast on location. I used to go on location and do the casting myself, but it’s become much more cost-effective to hire a local CD, whom I oversee. They do their auditions in their town and upload them to my website. Similarly, when I’m doing a talent search for a role, I can have up to 10 CDs working in various locations and reporting to me.

When casting leads and co-stars out of the major markets, I go through my database and come up with a list of possibilities: wish lists, reality lists, and thinking-outside-the-box lists. Then I meet with the filmmakers to assess their needs and wants. For the larger, “star” roles for which we want a name, I make lists of suggestions and edit them down based on availability, salary, and interest. From there, we start to make offers to set our lead actors. Simultaneously, we start having auditions for the remaining cast.

To set the auditions process in motion, I send the project’s script out to all of the agents and managers around town to ask for their submissions. Immediately, thousands of ideas flood my inbox, and my staff and I meticulously go through each one to narrow down our possibilities. Actors we’re familiar with and like will go straight to producer sessions, and others whose work we don’t yet know will have a pre-read with my office. In the pre-read, the actor auditions for the role and we work with them to direct them toward what we’re looking for. I like to read opposite the actors so I can get a feel for their process and see if they’re listening to me and truly interacting authentically. These days, we’re solely seeing self-taped auditions. Meanwhile, my office is besieged by agents and managers with pitches and suggestions. (It’s a symbiotic relationship, and we need to maintain good relationships with the agents and managers as much as they do us!)

The audition process can take anywhere from a few weeks to several months. Those we like will get a callback with producers and the director. We also tape all of our sessions and upload them to our website, so the creative team can weigh in.

Depending on the project, between my team, the filmmakers, and studio and network executives, there can be as many as 20 people viewing the auditions.

After auditioning, we narrow down our choices and have final callbacks or tests. For most tests, we negotiate the actors’ deal ahead of time. Business affairs usually does test deals, but the CD usually negotiates the actors’ deals for the project, depending on how big the deal is. We work with the production manager to learn the schedule of the actors and the needs for the deal.

Once we’ve done all the testing, we begin the process of setting the cast in stone, which consists of trying to get 20 people to agree on one ensemble. It’s not just a single person who has the ultimate casting decision, but a group of people coming together. Our job as CDs through that process is to oversee the final selection of talent to make sure the cast comes together in a cohesive, organic, and authentic way.

No project is the same, but as you can see, there are a lot of moving parts! Casting is a team effort; hopefully this gave you a peek behind the casting table’s curtain.

Make sure to check out my 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.

Warning: I grant permission to share my blog as written with no additions or deletions. Posting my blog is in no way an endorsement of another site unless you obtain my written consent.

How to Market Yourself

Photo Source: Margaux Quayle Cannon

By Marci Liroff

We’re living in a wonderful time for actors. Back in the day when I started out, they’d anxiously call their answering service (this was a live person btw!) to see if they had any messages from their agent for auditions. Essentially, you would have to wait to be asked to the party.

Now, you have the opportunity to market yourself without hiring a publicist. There are so many free and/or inexpensive ways to get your name, and more importantly – your work – in front of casting directors and filmmakers. Here are some essential marketing tools.

Website

Having a website is like owning your own storefront. The basics are: your headshots, resume, and demo reel (you can also use clips). If you don’t have a proper demo reel with professional produced footage, you can use a self-tape but make sure to label it self-tape so as not to be seen as your demo reel, which is isn’t!.

If you don’t have a website yet, make sure to get your domain name as a placeholder to secure it so that no one else gets it. Personally, I stay away from GoDaddy (bad service, expensive, and the former CEO was game hunter). Other domain name sites are Google Domains, Square Space, and Name Cheap.

Social Media

There are many social media platforms to use to promote yourself, but you have to remember the proper social media etiquette. My article from Backstage was written a while ago, but my advice still stands.

Instagram – social media platforms come into fashion and others slide down the popularity list. As of publication of this article, I’d have to say that Instagram and TikTok are the clear leaders in this pack. That said, make sure you’re using these platforms to your advantage and not your detriment.

Twitter – Twitter has many uses. Here again, there’s a right way and a wrong way which will cause people to block you. Do a little research like I did when I started out to find out how to be a superstar on this platform.

Facebook– you can have your own person profile page for friends and family, and also create an acting page so as to provide some privacy along with

LinkedIn – a great way to connect with executives.

YouTube – get your own channel and post your own content. Do not post auditions here unless you’ve gotten clearance from the producers. Remember that their scripts are not ready for publication until after the project has been released. No spoilers please!

Be consistent and use your name for all your social accounts. You want filmmakers and casting directors to remember your name. Once again, if you don’t have accounts yet using your name, secure them now as a placeholder for when you’re ready to make the leap into social media.

Post cards and email campaigns

Many actors are still using postcards to send to casting directors to alert them to upcoming projects that they’ve been in. My unofficial poll concluded that most CDs throw them in the trash. Postcards have morphed into email campaigns.

Sending an email blast newsletter to CDs and filmmakers is a good idea but keep them to a minimum.

You don’t want to be clogging your potential employers’ inboxes with emails every week. If you haven’t used it before, check out Mailchimp for future campaigns.

Business cards

Business cards are still a good way to make a lasting connection once you’ve met someone. Remember that it’s not just you giving them your card, you are receiving their card as well. Make sure to follow up on that connection. You can print your headshot on the card along with a QR code to lead them to your website.

Email signature

Your email address should have your name in it – not a silly random name. Be professional – remember this is a business after all. You can get a free email signature account at WiseStamp.

Picture and resume

These are the most basic tools that you must have. Remember that your photo will most likely be viewed online on someone’s device or a small screen. Your thumbnail has to really pop so make sure it’s cropped correctly and features just your face. Your headshot should show us your essence – it’s you on your best day. Pick the right photographer for you through word of mouth, seeing their portfolio, and chatting with them ahead of time. Your resume must be accurate, formatted correctly, and updated regularly.

Subscribe to the various audition platforms:

These are but a few of the “must do’s” to subscribe to:

Actors Access, Breakdown, Casting Networks, IMDbPro

Work begets work

At the end of the day, the old adage that “work begets work” is true. When you’re starting out this is never truer. When I see a great performance I want to hire that actor, or at least bring them in for a chance to get a job.

 One of the most important elements in all of this is to always remember that you will find greater success by giving than receiving. When approaching a filmmaker you should have the attitude of “how can I make your life easier and richer”,  rather than, “What can you do for me?”

Make sure to check out my 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.

Warning: I grant permission to share my blog as written with no additions or deletions. Posting my blog is in no way an endorsement of another site unless you obtain my written consent.

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