Info

Archive for

Photo © People and Chairs

Photo © People and Chairs

We can improvise anything we want on stage. Anything at all.

So why, as TJ points out, do we so often reach for the same old clichés?

“Experience what’s happening now, and make your surroundings real. You don’t have to invent an environment: it already exists.” – TJ Jagodowski

When you stop playing safe and really focus on what you and your scene partner have established, you’ll open up infinite new possibilities.

Cheers to that.

“It’s not a toomah!”

“La-dee-da, la-dee-da.”

“Coffee’s for closers.”

“Is it safe?”

“May the Force be with you.”

“Big gulps, huh?”

When you read those words, I know you heard the actor’s voice in your mind. Not just the timbre, but the emotion.

A few simple words can sum up a scene, a character, a play, or sometimes, a whole TV series. And as Schwarzenegger proved, you don’t even have to speak a language fluently to make a lasting impact.

Photo © Klapi

Photo © Klapi

While we don’t recommend you rely on catchphrases as a crutch, they can often be useful in defining your character.

The next time you blurt out something on stage, take note of what you said and how you said it.

A word, a phrase, or even a sound (like Annie Hall’s “La-dee-da”) are so much more powerful when accompanied by emotion.

You can explore and heighten whatever you said, or simply repeat it.

For two extreme examples of character and catchphrases, check out Tommy Wiseau’s disaster epic, The Room, and Community‘s Magnitude character.

Improv Side Note: Jack Nicholson’s “Heeeeeeeere’s Johnny!” from The Shining and Robert de Niro’s “You talkin’ to me?” from Taxi Driver were improvised. Now try to imagine their characters without them. Impossible!

Think world-class object-work skills just happen?

Nosireebob.

But have no fear, because Kyle Dooley (yeah, that Kyle Dooley) is teaching all that and more at Bad Dog Theatre this summer.

Who knows? Maybe someday Mark Little will gaze at your invisible beer with the same boyish admiration.

Click here for more info and to sign up for classes.

973850_10152899088855542_775416695_n

Photo © Alison Haines

We’ve been waiting months for this, and what a joy to hear these two giants of improv talk!

David Razowsky and Mick Napier talk about their early days in the Chicago improv scene, mentors, movies, and scenes they never wanna see again.

“Everyone digs in a graveyard [scene]. I always thought it was very funny that the universal association with being in a graveyard is that you’re gonna dig up a body.” – Mick Napier

For more bon mots from the always-passionate Razowsky and the almost preternaturally mellow Napier, check out the latest A.D.D. Podcast.

I started to write about Pattern Game* and asked Cameron for his opinion. Of course, his answer was much more interesting than an explanation of how to do it.

And so, POV was born: Point Of View. People On Video. Party On…Valium?

Stay tuned for more POVs with your favourite improvisers. Click here or below to watch.

*For a detailed description of pattern games, see page 29 of Truth In Comedy: The Manual For Improvisation.

CameronOnPatternGame

My boss saw two brothers, aged 4 and 8, being interviewed on Breakfast Television. The host asked what they wanted to be when they grow up.

The older brother answered “A dentist.”

The younger one blurted:

“I wanna be a dragon!”

As we get older, logic starts to rein in our imagination. Improv is a chance to let it run free again.

The next time something crazy, unexpected, or illogical happens on stage and your left brain wants to justify or “correct” it, ask yourself: Would you rather be a dentist, or a dragon?

Auditioning requires the patience of Job, the confidence of Tony Robbins, and the love of being rejected, time after time.

As someone who’s cast hundreds of actors for commercials, here’s are some tips that can help you go from in the room to on air.

simoncowell

Image © Banksy

You Got An Audition! Now What?

If this is your first time auditioning, the first round is what’s known as the “cattle call.” It’s where you and approximately 300 others cram in a waiting room for one, two, sometimes three hours just waiting for your chance at 30 seconds of fame.

Read the script and memorize your lines, if any. If you have an agent, they should send you the sides (script) before you arrive. If you don’t have an agent yet, ask for the sides when you get to the casting house.

Don’t be afraid to take them with you into the audition. Sometimes they’ll have the lines written out on a whiteboard, sometimes not. Just know that we’d rather see you scanning pages than trying to remember your lines and having to be fed them during a take.

And if you’re unsure about anything, ask. Preferably before you’re in front of the camera.

Headshots

Headshots are a great investment, especially if you audition a lot. They show you’re serious about acting as a career. In Canada, you don’t need a headshot for commercials. The casting house will take a Polaroid, and staple it to your stats. You’ll need one for TV series, film and theatre auditions, though.

Make sure you keep it up to date. I’ve seen headshots that are 10 years old or more. If you’ve changed your hairstyle or colour drastically, or the photos are more than five years old, bite the bullet and get new ones.

What Allen Iverson Said 

Yep, practice.

Even improvisers who are comfortable doing crazy shit on stage sometimes freeze up in auditions. That’s normal, especially your first few times. Maybe your first few dozen times.

If it helps make you less nervous, know that you’re probably not going to nail it the first time.

That doesn’t mean you shouldn’t try; it just means go easy on yourself. If you leave an audition feeling like you fucked up, remember: you showed up, and you did it. That’s your success. Be proud of that.

Use your time the night before to practice your lines and play with the character. Improvise in front of a mirror, or with a friend.

As with anything, the more you do it, the easier it becomes. So take every audition you can get, because you never know when you’ll get lucky.

Be Yourself…

Whatever the role, I want to see what YOU bring to it.

Whether you’re auditioning for a principal role or a minor SOC (Silent On Camera), let your personality and point of view shine. That doesn’t mean chew the scenery; it just means relax and show us why you’re perfect for the role.

If you’re feeling nervous before the audition, practise some of Amy Cuddy’s “power poses.” They can help calm and boost your confidence in as little as two minutes.

Lastly, I don’t care if the script calls for someone in his 40s, and you just turned 21. If you own the role, a good creative will fight to cast you for it. One time a client insisted they needed an actor in his 50s for a certain role. I snuck Alastair Forbes into the audition, and he blew everyone away. The client loved him, and he booked the job. He was maybe 25.

…But Keep Improving

I always, always request actors with improv skills. But improvisers who can act? That’s the gold, right there.

If you’re an improviser, take some acting lessons. If you’re an actor, learn to improvise. Both are invaluable, and can make the difference between getting the job or not.

Dress For Success

When you get the call, find out if you need a specific wardrobe. I know actors don’t have unlimited budgets, so if you don’t have it, borrow from a friend, or visit your local Value Village.

Otherwise, err on the side of business casual. A solid shirt and pants or nice jeans for guys, and a dress that doesn’t show too much skin for the ladies.

Some actors wear the same thing to callbacks that they wore to the initial casting. I’ve heard some actors do it “for luck,” because they think that somehow that paisley shirt and ripped cargo pants got them the callback.

In a word, no.

I can look past superfluous stuff, but many advertising people can’t. And even if my art director and I love you, if we can’t sell you to our boss or clients because they’re fixated on your Metallica t-shirt, it’s game over.

Give yourself the best possible odds. Dress the part.

A Note About Grooming

Beards are popular these days. But 99% of clients just see “pedophile” when presented with facial hair.

Shaving your beard, or at least trimming it down to /0/” target=”_blank”>Henry Cavill proportions, will increase your casting potential a hundredfold.

And never, ever cut your hair right before a shoot.

I once cast an actor with shoulder-length hair. She showed up on set two days later with a pixie cut. It’s the kind of thing that makes clients go ballistic. And can get you fired on the spot.

Even if you’re just contemplating a trim, always ask before doing it.

Be Professional When Those Around You Are Not

When you walk into a callback, there’s usually a producer, writer and art director sitting at the director’s table.

Sadly, many advertising creatives are oblivious to the actors in front of them. While you’re trying to rock your best Guy #2, they may be whispering, eating, scribbling, absorbed in their iPhone, or frowning with a face like thunder.

Ignore them.

Greet everyone with a smile as you walk in the room, then give your full attention to the director and/or camera.

Even if some people are focused elsewhere, a good director will take note of your performance and review it after the casting.

Agents And Stuff

You don’t need an agent to land gigs, but it helps. The catch? Most agents prefer that you already have a few roles under your belt before they’ll take you on.

Cameron and I have auditioned friends who didn’t have representation, and a number of them caught the eye of casting directors, who helped them find an agent.

However you get in the room, it’s important to know that once you’re there, if you’re good, you will get noticed.

You Got The Part. Now What?

Congratulations! You beat out dozens of other hopefuls, and now you’re ready for your close-up.

If this is your first on-camera role, you’re probably a little anxious. Try some simple breathing exercises to calm you. (You can listen to them on headphones on the way to the shoot.)

Allow yourself plenty of time to get to the location. Use Google maps the day before to gauge how long it will take you.

Once you’re on set, there’s a whole crew of highly-trained people, from hair & make-up, wardrobe, and script continuity, to the producer, AD, and director, whose job it is to help you give the best performance.

Take a deep breath, and enjoy the ride.

You Didn’t Get The Part. Now What?

Know that you’ll fail far more than you’ll succeed in getting roles. That’s not just you, that’s the business.

Even if you own the role, out-Brando Brando, or make everyone in the room laugh, you still might not get the part. The reasons are endless, but for a partial list, read 31 Reasons Why You Didn’t Get A Callback Or An Audition.

As personal as some of it sounds, don’t take it personally.

You have something to offer that no one else ever has, or ever will. Don’t let a handful of people determine how you feel about yourself.

It’s Not An Audition, It’s A Performance

If you treat every audition not as a dress rehearsal, but as the real deal, you’ll always bring your best self. And there’s no better gift you can give the world.

Now go out there and knock ’em dead. I’ll be cheering for ya.

For more tips, check out 21 Things That Make Casting Directors Happy. It’s not just great advice for auditioning; it applies to every part of your life.