Issue link: https://digital.copcomm.com/i/1401622
approach. But the one thing that every casting director is looking for is connectivity: Do you understand the character? In what ways are you bringing yourself into the role? And how quickly do you show that in your audition? "I always say to actors that it's about the first five seconds," said Atlanta casting director George Pierre, CSA. "Whether it's a live [audition] or even via Zoom, I should be able to turn my back to you and feel what you're presenting." Connectivity is even more important when it comes to self-taped auditioning. Casting directors are aware that self-taping presents some difficulties, including fewer opportunities to give actors direct and timely feedback. But Boast and Mento note that remote auditioning offers opportunities as well. "If you're in the room with me, I'm probably redirecting you — and even if you get the job, you're [following the director's cues]. So, really, that first self-taped audition is the only time in the entire process you're completely in control," said Mento. "There's power in that, and I think that actors should be more excited about [having that aspect] than disappointed that they can't be in the room." Mento's words should be taken to heart when it comes to aspects of your delivery such as your emotional range and character choices. But for all other aspects of your self-tape — lighting, background and clothing — remember that the opposite is true: Keep things simple and subtle. "People start to get really elaborate with their auditions, but less is more," said Lobel. "Give nods to the world that you're portraying through your clothing, but don't go all-out with costuming, don't try to recreate the set and stick to your lines — don't improv!" Added Boast, "And remember that, in addition to the business of it all, this audition is another opportunity to act; be bold and try to enjoy the creative process! Don't get too caught up in the technology of self-taping; we'll see beyond the setup if you're doing great work." Above all, remember to review the tape before you send it! Still, even with research and preparation and taking the proper steps to deliver great in-person and self-taped auditions, you can still be passed up for a role. Handling rejection isn't something only actors experience; casting directors also face rejection, whether it's being turned down for a project or having an actor they recommended ultimately not be chosen. But what's important is to not let a setback affect you too strongly. Always be looking ahead. "[Auditioning] is a constant interview," said Pierre. "Don't let one rejection — or 100 rejections — deter you from pursuing what it is that you love. There's eventually going to be a 'yes,' and that one will turn into [more work]." Instead of focusing on the part you didn't get, take effective steps to ensure you're ready for the next opportunity that can — and will — present itself. "I'm a retired actress, so I really know what [experiencing rejection] is like, and, if I can, I try to [advise] actors on what they can do moving forward," said Peri. "Really become a contender and be your own manager. Start actively looking for work and peacock a little bit: Change your headshot and update your resume, get on two or three online services, and look for an agent." "And if you're constantly being asked to audition for multiple projects at the same office, take that to mean a casting director sees something in you and is choosing to spend [their] time on you," added Mento. There will come a time when a "no" becomes a "yes," and you'll find yourself working on-set, but that doesn't mean your professional relationship with a casting director is over. Your conduct on set is not only a reflection of your professionalism, but that of the casting director. Instances of poor "set-iquette," whether to the director or crew, can make its way back to casting and lead to long-lasting consequences. "If I hear word from the set that [someone I cast] was actually rude and disrespectful for no reason, that hits home, because I've had that done to me as a [production assistant]," said Pierre. "Don't just show the producers and directors respect because you feel they're the ones that are going to make it happen for you. You're only as good as your last project, and the PA on set one day can end up being a producer [on another set] the next day." There are few constants in the industry, but one thing that remains true is that casting directors are invested in actors' successes. "We miss the actors and [in-person] sessions; I miss giving that direction," said Lobel. "But auditioning is part of the process and I think that … us calling you in should show you that we are on your side and believe that this role could be perfect for you." Read SAG-AFTRA's message about self-taping on page 28. GETTY IMAGES