SAE Magazine 12-2

(Even though your agent will probably have for- warded your photo and CV to the casting director before the audition it doesn’t hurt to take a spare with you in case the director asks for another.) • Stay focussed and positive – Help yourself to do this in the waiting area by bringing a book with you or iPod/ MD to listen to so you don’t become distracted or self-doubting. It can undermine your confidence if, while chatting to other actors, you hear about who got the role you went for last week, especially if it was one of them. • Tell yourself: – “Someone thinks I am right for this part, otherwise I wouldn’t be here.” Even if the character breakdown describes a character short and blonde and you are 6ft 2 and dark haired trust that those you are auditioning for may have either a) changed their thinking on the character or b) want to see you audition with this scene but may be considering you for another role. Either way, never miss your chance to impress them with your skill. “Whether you think you can or you think you can’t, you’re right.” • There is only one you – what will set you apart from every other actor they have seen and are con- sidering for the role is YOU. Trust that your unique quality and special skills will be what gets you a part in the end. • Your sense of humour – Don’t leave home with- out it. Sometimes the tension of the situation can cause you to have an “irony deficiency”. Relax – it isn’t brain surgery and no-one is going to die as a result of your audition. Try to relate to your audi- tioners as people. They won’t feel comfortable if you are gushing or sycophantic. Be yourself and don’t lie if they ask you about skills that you pos- sess, e.g., If they ask can you ride a horse? and you can’t, say “No, but I’m happy to learn.” rather than deceive them and then arrive on set and delay film- ing. • The first run through: many directors nowa- days are keen to see what choices you have made in interpreting the character before they offer you direction. This is where you can really draw on the homework you’ve done. This first run through is often filmed too. • LISTEN – as obvious advice as this seems many actors develop temporary deafness due to the stress of a screentest. You will glean vital information from the director or casting director about the way they want you to interpret the role or the scene, if you listen. • Don’t stop the performance until you hear “cut”: Often wonderful non-verbal moments hap- pen at the end of a take and so a director may delay calling “cut”. Stay in the moment, don’t freeze, but keep it going. Even throw in an ad-libbed line if it feels appropriate. • There is no right way of doing it. Get over try- ing to get it “right”. There is no “right way” when it comes to compelling screen drama and memo- rable auditions. It’s your audition. Live the scene and be truthful to the moment. Remember also that the director and casting director are not your dis- approving parent, or the headmaster you had con- flict with at school. Don’t carry baggage like this with you into a screentest. Those auditioning you aren’t questioning your existence or right to act, don’t view them as such. If you make a mistake or forget a line, forge on and don’t worry about it. It won’t bother the director, believe me. Avoid look- ing straight into the camera unless you are asked to. In TVC castings it is more common to look “down the barrel” straight into the camera lens. If you’re unsure ask where they would like you to look. Have fun and enjoy it! WHAT IS A DIRECTOR LOOKING FOR IN AN AUDITION? Inmyexperiencetherearethreemainthingsthatadi- rector or casting director looks for when screentest- ing or auditioning actors. They are: 1. Photogenicity: What is the quality this particu- lar actor brings to the screen and will it enhance this role and complement the other actors we are considering for the other roles? I sometimes call this the actor’s photogenicity and it is intrinsic to that actor. 2. Adaptability: How adaptable is the actor in be- ing able to listen to direction and vary their perfor- mance? If an actor, in the tension of a screentest, is able to make interesting choices and incorporate different direction it’s likely they will be able to do this when on set when time is running out and the light is fading for example. ➤ 99 Production & Know How // Screentesting Index

SAE Magazine 12-2

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