Monday, January 27, 1997
BOOK:
Comprehensive new guide to auditioning provides useful adviceBy
Stephanie Sheh
Daily Bruin Contributor
For an actor, the most difficult part of showbiz is the audition
process. No amount of audition classes or trade books can
completely prepare the actor for the nerve-wracking experience.
However, "Next! An Actor’s Guide to Auditioning" comes as close as
a book can get to preparing the actor for the audition.
The effectiveness of "Next!" is based on the fact that its two
authors are established casting persons in the entertainment
industry. Paul G. Bens Jr. worked as a casting associate on shows
such as "Night Court" and "Ned and Stacey." Ellie Kanner, C.S.A.,
has cast the hit TV shows "Friends" and "Lois & Clark: The New
Adventures of Superman." The authors’ positions in the
entertainment world allow them to provide a different perspective
on the audition process as well as offer insights and useful tips
for the aspiring actor.
The book starts off by approaching auditioning from the casting
director’s point of view. It reveals that casting directors must
also pass a type of audition before they get the casting job. They
have to read the script and present the producers with ideas and
types of actors they believe should play the various parts.
Immediately after reading the script, a casting director can
make two lists. If the producers are intent on having a star in the
leading role, the casting directors will compile a name-value list.
An actor list, made on every project, details the casting
director’s first choices for all the roles. When both lists are
completed, a casting director will release a breakdown to agents
requesting them to submit actors appropriate for each role.
In addition to information about the audition process from the
casting persons point of view, the book explains the different
types of auditions and who and what are involved. "Next!" is broken
down into chapters based on what actions need to be taken before
the audition, during the audition and after the actor has gotten
the job. Each chapter contains hints on how not only to audition,
but how to play the game of Hollywood. For example it suggests
saying "nice to see you" instead of "nice to meet you," because the
latter greeting can unintentionally leave the impression that
whomever you are talking to does not know your work.
The book also gives a list of ways other actors can try to
psyche out the competition. They may say things such as "God, we’re
such different types," "I just finished a huge movie with …" or
"God, you haven’t worked in a while, have you?" The book suggests
that actors should not try to psyche out the competition, because
casting assistants and receptionists keep their eyes and ears open
in the waiting rooms and the strategy can prove detrimental to the
actor’s own image.
These hints demonstrate the extent of detail in the book. There
is also an analysis of many potentially difficult decisions that
may suddenly arise during an audition. It addresses simple problems
from whether to sit or stand during an audition to shaking the
casting person’s hand. There are also suggestions of how to deal
with more delicate matters like when nudity should be involved or
accepting offensive material.
Kenner and Bens also advise potential auditioners on how to
answer questions regarding ethnicity and age, since under union
standards and by a federal statute, it is illegal for the casting
director or producer to ask an actor’s ethnic heritage or age. The
difficulty arises because obviously the actor does not want to
offend the casting persons by informing them the questions are
illegal. A tactful way of dealing with the age problem is by
telling the producers the age ranges you are capable of performing
instead of your actual age.
While these suggestions are extremely helpful and detailed, they
may be found in other audition books. What makes this particular
book unique is that it includes information about negotiating
contracts. There is also a section about Test Option Deals, a type
of a contract that must be signed before an actor can read for the
network.
Despite the wealth of information in each chapter, the book
contains a step by step section about contracts and numerous lists
and extra resources that the actor may find useful. For example,
there are numerous samples of headshots, resumes, checklists and
memorandums. Toward the end of the book is a list of unions and
guilds. There is another list of suggested readings including
directories, online services, trade papers and trade books. Also at
the end of the book is a list of networks, cable and production
companies, major studios and their addresses as well as a glossary
for those who are not familiar with showbiz lingo.
In addition to all this, dispersed in the margins throughout the
chapters are various anecdotes that either Kanner or Bens have
encountered in their casting careers. These are memorable and
usually informative stories that add a nice touch to the overall
book. For example, in the section discussing how physical to get
during an audition, Kanner remembers an actor auditioning for the
role of an abusive father. Kanner was reading the role of the
little boy. She recalls, "Wanting to keep the intensity of the
scene, the auditioning actor decided he would grab my face. It
scared the hell out of me, and made me extremely wary of the actor
and his control."
By reading this incredibly extensive and highly informative book
and learning as much as one can about the auditioning process, the
actor, while still nervous, will feel adequately prepared for any
audition.