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How To Make Friends With Directors

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By Marci Liroff

If there’s one thing you should know about me after reading my columns, it’s that I’m a big fan of preparation. When my casting director colleagues are asked, “What is your biggest pet peeve?” they seem to always answer, “Lack of preparation.” Preparation doesn’t always take the form of being off-book and having made distinct character choices. There are so many things you can be doing throughout the year to make yourself a better and more well-rounded actor.

In my article “How to Prep for the Fall TV Season,” I encouraged you to see at least one or two episodes of every new show (and existing shows) that is out there so that you can spend 100 percent of your time before your audition preparing for the scenes you’ve been given, rather than having to catch up on viewing the shows.

Another crucial thing to becoming an actor with range is to watch old movies.

I’d like you to become a walking film library. 

You may come across a director in an audition situation or on a set who, rather than being able to articulate what she is looking for, will give you an example of a character in a classic (or not-so-classic) film. Since you’re a student of cinema, you will know exactly to what she’s referring.

I’ve worked with several directors who are very visually creative and are driven by their “right brain” and can’t actually tell you what they need from you. Many of them resort to using film references. If a director told you that he needs the enthusiasm and guilelessness of Warren Beatty in “Heaven Can Wait,” would you know what he means? When a director and DP talk about the opening tracking shot from “Goodfellas,” will you know what they mean and how to sustain your performance throughout?

I’ve witnessed actors in meetings with directors (and at my dinner parties) who have simply wowed a director with their endless knowledge of film history. A vast knowledge of actors’ performances along with classic shots shows a filmmaker that you have been paying attention and aren’t just interested in yourself, but are drawing from the past to make inspired choices. When actor Dennis Christopher met with director Quentin Tarantino for “Django Unchained,” they talked about film for hours.

I’ve prepared lists of my favorite films from the ’60s, ’70s, and ’80s that I believe are films you simply must see (check out the Resources page on my site. Scroll down toward the bottom – AMAZING list of resources here btw). Films such as “The Birds,” “Bonnie and Clyde,” and “Lolita” in the ’60s. “Harold and Maude,” “The Last Picture Show,” and “Midnight Cowboy” in the ’70s. Check out “Blood Simple,” “Silkwood,” and “Blade Runner” from the ’80s. These are but a few of my favorites. Study them. Track your favorite actor and see where they began and where they are now. Look at Leonardo DiCaprio in his first movies, like “This Boy’s Life” and “What’s Eating Gilbert Grape.” Then watch what he does in “The Wolf of Wall Street.”

See you in the movies!

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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To Be(off book) Or Not To Be(off book) – That Is The Question: 4 Hot tips For Success

 

By Marci Liroff
Many of you ask me if we expect you to be off book. For the first audition, we expect you to be completely familiar with the material, have read the script if available, and have made distinct character choices. You can look down at your sides for reference. But, as you come in for call-backs 2 and 3 times, and certainly for any test at the network or screen test on a film – yes, be off book.  You can still hold your sides if you need to, but be off book.  As you know, competition is SO stiff, and if the next guy is more prepared than you, then it doesn’t make you look very good.  For us, your behavior in an audition is indicative of how you’d be on the set.
  
Why would you NOT want to be as prepared as you possibly can? I always say, THIS IS YOUR JOB PEOPLE! Why would you come in and do a “sort of good” attempt at the material when you can be GREAT?! You’ve spent years training, you’ve done the work, you’ve studied, now go out there and be as fabulous as you can.
Being off book allows you to connect to the person you’re reading with. It makes your audition look more authentic because you are PRESENT in the scene. When the actor is continually looking down at his sides you sort of break the spell that you are trying to create. As the viewer or reader, it takes me out of the scene when an actor is reading off the page or continually looking down at his sides – usually at a crucial moment in the scene.
Being off book means you are going to be on your toes when that rare moment comes along and the director actually gives you notes in the room and asks you to do it again. Yay you! It means that he/she actually SEES something in you that makes them want to see the scene again with their re-direction. It means they want to see if you actually CAN take direction. Because you know the material like the back of your hand, you’ll be able to LISTEN and weave those notes into your already fine-tuned and thought-out performance because you’re not struggling with the lines. Currently I work with a director who is very articulate in “actor speak” and he’ll give you 10 notes on a scene and expect you to integrate them into it. Try that if you don’t really know the lines? Your head will explode!
Hot tip #1: Hold the sides in front of you. Turn the pages along with the flow of the scene so that if you do get lost, you can easily dip down and find your place and continue along, with ease and grace, and we don’t have to stop and start over. If you get lost – how you get back on track is also something we look for. If you have a total meltdown and start apologizing and freak out and dissolve into a puddle because you got lost or have to start over – that gives us pause because we wonder how you will be “on the day” if you aren’t handling things well in our little office when the meter isn’t running yet! We’re all human, we make mistakes. How we handle them is the key.
Hot tip #2: Holding the sides also shows the executives (network and studio) who are watching this audition outside the room, that it is a work in progress. It’s not a finished product. You can’t imagine how much they all scrutinize your performance. Since they’re removed from the work space (our casting office) they sometimes forget that we’re still playing – this is not a finished performance. When they catch a glimpse of the sides, it plays subconsciously into their viewing skills and reminds them that – oh yeah, these aren’t dailies. It’s subtle but it works.
Hot tip #3: Your memorization skills also come into play when you’re actually shooting. I cast a tv series last year and I couldn’t believe how often lines were flying-in as we were shooting the scene. Both producers were writers on the show and they were changing-up dialog while shooting. If you don’t have this skill-set now, go get it! Develop it. It’ll be the sharpest tool in your bag that’ll take you a very long way in this business.
Hot tip #4: Have you ever been given a scene and the other person in the scene has a long speech and they skip over the whole speech and just read the last line?! You’re all prepared to be listening and responding to the speech and they’ve jumped ahead and you’re totally thrown. Ask FIRST before the audition starts if we’re going to be doing this whole speech or all this dialog within their speech – then you’ll know whether they are going to skip over it or not. I usually advise my coaching clients to ask the CD or reader: “Can you please read the whole speech as it’ll help with my reactions?” Good idea, huh?
For me – one of the key elements in an audition is whether an actor is LISTENING. Whoever these CDs are that are skipping over large chunks of dialog so that they can get to your lines are SO missing the point here. I love to see the look on the actor’s face as he’s comprehending and reacting to what the other character is telling them. 
There are many ways to memorize lines – you have to find the system that works for you. Practice. You can learn a scene or a monologue every day and it’ll help your brain start to become comfortable with this process. Here is a long list of ways to learn lines. There’s also a great app called Rehearsal  which is great for memorization along with other wonderful bells and whistles. Figure out which one works for you and start sharpening your skills. 
In closing, please know that we’re not just looking for the actor that can memorize all the lines. That’s just one very small part of your performance. How you interpret the scene and the character and make it your own is what we need to see as well. Along with knowing the material well, you’ve got to be able to change things up if/when the director gives you adjustments. I see some actors get so locked-up in the way they’ve rehearsed it that they can’t make any changes. We need to see that you will be able to adapt to any changes that come along. 

You can read a version of this article on BackStage Magazine.

 
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Marci