Sears and Switzer
Creating, Training, Producing since 1978
theatre, film, television, presentations
Sears and Switzer Creating, Training, Producing since 1978 theatre, film, television, presentations
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Quotes from the casting corner: Canada’s leading agents, performers and/or casting directors answer some of the questions you want to ask. Sometimes it’s simple stuff that loses you the part. Theresa, in her audition coaching role, is often shocked at actors who think they can get away with hitting a major [or even a minor audition] without learning their lines. . Try learning something by heart EVERY DAY. Your memory responds to practice. This is basic stuff but don’t forget it! We asked Stephanie Gorin for a helpful hint... “You must really be comfortable with your audition material, even when you think it’s just a few lines. We’re trying to get to know you. I can’t get to know you if your head is buried in your sides.” - Stephanie Gorin We believe that becoming a better actor is the best thing any performer can do for his or her career.... Here's a comment from influential casting director, Karen Hazzard. "There are 3 performing disciplines, dance, singing and acting. All dancers exercise. All singers vocalize. Actors wait for the phone to ring! Instead you should use every minute to learn more about your craft. Study people, learn more... Watch the World!" - Karen Hazzard WE AGREE with this great quote from Ed Hooks on JOY!: "The avoidance of failure is not the same thing as the pursuit of success. In the acting moment, you do something; story telling is not a factor of your being. I suppose what I want to say to you today is that acting is a joyful enterprise. It was that way when you were a teenager, and it ought to be that way when you are on Broadway or acting in a movie with Robert DeNiro. Even if you are dealing with great tragedy, the process and art is joyful because it speaks to what makes a life meaningful. When you act, you draw a circle in the dirt and talk to the tribe. It is not any good if you draw a circle in the dirt and, when the tribe assembles, you start teaching them how to fix watches. They want to know about how to get through the hard winter. Have fun! Rejoice in your art! Kick some butt! -Amen. Ed Hooks, http://www.edhooks.com " Found a great quote from Lynda Mason Green about choosing an acting instructor. She has co-authored the critically acclaimed book of Canadian actors' anecdotes, 'Standing Naked in the Wings' (Oxford University Press, 1997; available at Theatrebooks). She's an ACTRA councillor and founder of Canadian Actor's Online [yes join it!] http://www.canadianactor.com "Good teachers make their name from sticking with the work and encouraging actors to expand themselves and their options in the work. Other teacher's may make their name sometimes by 1: reinventing the wheel and claiming it to be their original 'method' 2: creating a mystique by claiming to have had trained or had influence over successful actors (there will be name dropping involved) or 3: psychological manipulation (you are brilliant one day and **** the next. AKA The Svengali method). Be careful. A brutal teacher can set you back in your confidence and your ability to function without your teacher's input for a long time. Weak teachers want you dependent. Good teachers want you strong and independent." WE loved this quote from Vancouver agent, Pamela Wise [CoastTalent] and she's generously let us put it on this site: Pamela Wise [Coast Talent, Vancouver]: My advice to actors trying to break in would be learn the craft of acting, develop solid technique. Build tons of personal confidence, determine your own edge & style. Know the market. Be a business person. Agents & casting directors only respond to what the director/producers want. Keep up to date with what is current in looks & acting trends. I also think it is key to have a mentor type figure, perhaps an acting coach or a professional actor, that knows the pitfalls & can give you solid advice. Have a game plan, soak up every experience, have a vision, and have faith in yourself. For the un-represented actor, I would have to advise to have a lot on the go. Create momentum. Network, ask questions, study both drama & comedy. Practice with other actors outside the classroom. Do respond to all casting calls-make your mistakes without the pressure of an agent & the 'sometimes unforgiving' casting director watching, really hone your skills, develop mind/body & spirit, and if you are not having fun or are not truly inspired, re-evaluate! AND A FEW HINTS FROM OUR AUDITION WORKSHOP ABOUT COLD READING… What about choosing a monologue? Start with a monologue you love. Your first piece should really be something that gets your juices flowing… That’s why you need to look around to find something you’re passionate about. Don’t just hit the Internet and grab the first thing you find. Read a lot of monologue books and then find the full play script and read that. It’s considered to be very poor form for an actor not to know the play the monologue is from… read other plays by the same author as well. Then find a monologue coach and do some serious work on it. After a while you’ll build up a couple or half dozen different pieces that showcase different things for different jobs. Final hint? Keep it short! [Most actors go on too long… Casting people can get the impact in a minute or so very easily.] WHEN YOU DON‘T GET THE SIDES IN ADVANCE: * Remember, cold reading is usually used to test your ACTING, not your reading. It’s used when the director or casting person sees something s/he wants to test on the spot... either your working method as a performer OR a rough sense of how you fit a specific role.
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