Welcome to Part Two in our series on what to expect on the road to your first (or fifth) booking! We started with the pre-read, which is kind of like an audition rehearsal, in which you read for casting so they can decide whether to bring you back for... Producers!
"Going to producers" is another way of saying "callbacks." These are the people who can give you the job, and you never know who's who or how many there will be. (I've read for producers with anywhere from one to sixteen people in the room.) In addition to casting, there might be directors, producers, writers, ad agency people, and/or other actors. It can be jarring, so your best bet is to say your hellos and then focus on the casting director, who is usually sitting closest to the camera. (The camera might be there because someone who needs to weigh in couldn't make it to the session, or because the network needs to sign off on the final choice, or just because they want a backup in case they want to review what you did.) On the other hand, it's increasingly common to go "on tape for producers," meaning the only people in the room will be you and the casting director or associate, just like in a pre-read, and the producers will cast off of tape. This is why it's important to know what kind of audition you're going to... Pre-reads and producer sessions can look identical, but your approach needs to be different.
If you had a pre-read and got called back to producers, do exactly the same thing you did in the pre-read. One of casting's biggest complaints is when an actor does one thing in the pre-read, and then does something completely different in the producer session. This is not the time to get creative. Wear the same clothes. Make the same choices.
To prepare for a producer session, do the same things you would do for a pre-read, plus:
- Research anyone you know will be in the room or watching the tape. Their names will often be included in the audition information. Look over their credits, just like you did for the casting office. If you can find pictures, all the better. It's always nice when you can recognize who's who when you walk in.
- Be mostly off book. You want to be flexible enough that you can take direction, but solid enough that you can do the scene in your car or at home without needing the script. Nerves and adrenaline will naturally make the lines fly out of your head, so be a little more memorized than you think you need to be.
That said, ALWAYS have the script in your hand, and don't worry if you need to refer to it in your audition. Holding the script is a subtle reminder to the 'audience' that they're not watching a finished performance. And remember, an audition is not a memorization test. They don't give the role to the person who remembers the lines the best. Don't sacrifice your performance in order to avoid looking at the script. If you need it, look at it.
In terms of attitude, you want confidence. Reliability. Offer them a solution to their problem. You should not have questions at this point. Your choices should be set. You want to leave them knowing exactly what they're gonna get if they hire you. You may get some redirection (usually from the director.) If you do get redirected, it could be for any or all of the same reasons as in a pre-read. Directors often want to make sure you can take direction before hiring you, so they may give you a redirect that has nothing to do with what they actually want for the role. If you get a direction in a producer session that contradicts what you got in the pre-read, don't glance at the CD or make a comment about it, just make the adjustment. If you're in the room for a long time, it can only be good thing. If you're in the room for a very short time, it may very well be because you nailed it right away. Don't get chatty or try to linger. Get in, kick ass, get out.
As casting offices get to know you, you will start going "straight to producers." That might mean there was no pre-read -- some offices don't do pre-reads -- or it might mean you got to skip the pre-read because they know you well enough to trust you to deliver for producers. BUT... If that's the case, make sure you call or email the casting office, either directly or though your agent or manager, if you have any questions you need answers to before you read. Do not wait until you get into the room to ask questions. I have booked more than one job because I was the only person who knew a critical piece of information that wasn't obvious from the material given to the actors.
Now comes the hardest part. Time to leave it behind. I let myself go over the audition in my head as much as I want on the walk to my car, maybe on the drive home if it's a big job, but that's it. No waiting for the phone to ring, no kicking myself for not doing something differently. Reading for producers is a big compliment, because it means casting trusts you to represent them in front of their bosses, and believes you are one of a handful of people who could book the role. The booking is gravy.
Unless it's not quite booking time yet.
Next week... The stuff that sometimes comes between producers and bookings. Work sessions! Second (and third, and fourth) callbacks! Chemistry reads! The fun never ends!