No-showers and late-comers need not apply

…or I guess I could have titled this “the casting director’s lament…or RANT!”,

Being an actor involves so many facets. To merely have the innate talent, for starters. To be an outstanding reader. To have the ability to see a piece of commercial copy, or sides for a TV show or movie, and be able to break it down.  To be able to imagine yourself in that particular situation, and take a guess as to what the music bed or sound effects might be “up and under” where your dialogue is taking place…all of that, PLUS the good sense to treat the craft of acting as a BUSINESS. Be responsible. Show up. ON TIME. Don’t be someone who becomes known for his or her tardiness, for being unprepared, and even worse yet, a no-show. Shake off any attitude that you think might be acceptable (because it’s not) before walking through the casting director and agent’s door.
BE PROFESSIONAL.

Leave that unacceptable stuff to the celebrities. And even with them, after a while that becomes tired. People stop using them on projects, as well as endorsements. If they waste too much time and money – and folks stop using them - you bet your bottom dollar that casting directors, agents, and producers won’t give you the time of day. And believe me, once you have that reputation, it’s very hard to shake. If you think you’re such a great one-of-a-kind, think again. My husband, who is a well known voice-over artist, always says “we’re trained monkeys. There are TONS of guys who can do my job. Everyone’s replaceable.” And ya know what? He’s right. So in order to not be replaced,
BE PROFESSIONAL.

I have seen such talented actors become talented actors who don’t work. Not because it’s the luck of the draw, because they either didn’t attack their career as a business, or because of all that negative stuff I just mentioned above. Or both. If you’re serious about acting, make yourself a montra. Take down a list. Write an affirmation. What ever works for you, that states that you WILL show up. You WILL NOT be late. YOU will Not cancel last minute. You WILL give yourself enough time so that you’re MORE than prepared to rattle off that copy/sides/script. That you WILL leave your negative attitude at the door. That you WILL NOT give out your opinions about how poorly the script is written. (And believe me, there are some bad writers out there.) That you will make it YOUR business to make the words work, and come to life. That you will persevere. Follow leads. Shake off  rejection and take direction and criticism as something positive.
BE PROFESSIONAL.

Over an’ out,

Doriane
http://www.dorianeelliott.com

        

When going to an audition of any kind  - voice over, on-camera commercial, or legit – never wear noisy clothing, unless, for some crazy reason, you were requested to come in wearing such items of clothing. I know this may sound obvious, but it’s amazing the amount of noisy clothing that has swished, cracked, and jingle-jangled into my casting sessions…

When you’re auditioning, body language is key. When we speak, we use our arms, our shoulders, and our hands to express ourselves. Our heads move. So if you’re trying to be as natural as possible, and are in fact using all of those body parts to BE natural, wearing a leather jacket that creeeeeeeeeks, or a very starched shirt, or even running jacket (or pants for that matter) are going to take away from your performance, and distract the Casting Directors – as well as the Advertising agency folks AND their clients – to no end.

It’s amazing how many items of clothing that can actually take away from a great take. Even the ” silent” items. For instance, when going into a voice over audition, people come in wearing baseball caps. Yes, they’re silent. Until one hits either the mic or the pop screen. Then all I hear on my side of the glass is a heavy thud! A perfectly good take, ruined.

Women come in with long earrings and bracelets. One move expressing themselves with their head and/or hands, and that jangly noise takes over in the headphones/speakers, and even on camera. Men come in with change in their pockets, and watches with metal bands.

And cell phones! Don’t turn them onto vibrate, turn them off. You’re in there anywhere from three to seven minutes. Be courteous. Be professional. You want to impress the New York Casting Directors, not put them off because you didn’t think ahead about how what you’re wearing might effect your auditions.

So. Be very aware of what you where when going into your audition.

Until next week –

Doriane
http://www.dorianeelliott.com/

        

You never  want to hear  that from an agent,  let alone  a casting director—especially  on an audition. It could really  rattle  you…

Just as important  it is for your reel to be your calling card  in voice-overs, so  is your head shot for anything on-camera. I can’t tell you how  essential  it is to look like your photo, and vice versa. Some actors come in, and It’s clear they  haven’t  updated their  head shot in years! Styles change, and so do our faces. This, my dear New York Acting readers, is vital imformation.  Keep your photo fresh, updated, and HONEST!

Another  thing I get is a lovely current picture,  but the person’s face is SO re-touched, he/she  looks  ten years younger, and sooooooooo  pretty! If you want  to look as beautiful as your VERY re-touched photo,  go out  and  get the work done to match your photo! Some re-touching  is fine. When walking  into  a New York Audition,  you want  the Casting Director  to know  how  nice  you CAN look. You know  the expression, “ya clean up well!”. Well, show ‘em how  well  you can clean up, but LOOK LIKE YOUR DARN PHOTO!!!!

When agents  submit  a dishonest  photo,  we  Casting Directors  are very disappointed.  Upon seeing the actor, we’re like “uh…is this…YOU?” or “when exactly was this taken?” You don’t want  a strike against  you before you even slate your name…

The Person who took my photo for this blog is Timothi  Jane Graham. She happens  to write the blog for the Headshot section on this site. I am NOT an actor,  and asked that she keep my photo natural.  Bags  and all. No re-touching.  I now  have sent several students  of mine  to her, and the photos have  been  fabulous. AMAZING. Check  out her site. Yes, she does some re-touching  here  and there, but minimal,  and sooooo  respectful to the actor’s face. She gets it. She’s not for the all-out  beauty shot when  it comes  to head shots. She actually  scopes  out locations  for each  individual  actor. Cool, NY places she KNOWS  where  the actor will shine  and stand out all on his or her own.

For me,  as a New York Casting Director,  I want  to  feel  something when I look at someone’s photo. And when I meet  that actor  face-to-face,  I want  to know  that  that photo is true  to who he/she is, and equally  important,  that the photo  more than resembles  the face.

Don’t make the agents and casting directors  wonder  if it’s really you, or wonder  when  the photo was taken. Stay updated,  stay fresh, and keep it real.

Til next week!!!

        

…so don’t go to just  anyone  to produce it for you. As I mention on my website, (http://www.dorianeelliott.com) do your homework. Listen to producers’ examples vs. examples of others, before giving anyone your money.  And better yet, those of the true professionals’ reels at VoiceBank.net. These reels or “minutes”, as we like to call them in the NY voice over world, are comprised of either all actual spots that those actors have booked, or some that are made up spots, peppered into the reel, but sound so authentic, no one would ever know that they were created for the actor’s reel. At my site, where it says - “reels and testimonials”, you can listen to what we’ve created for my students over at Phantom Audio. (As I’ve mentioned before in my previous blogs, Phantom Audio is a state-of-the-art audio production recording studio that casts for, and creates commercials as well as industrials and promos for both TV and radio.)

I cannot tell you enough how important it is to have a high quality, professionally produced minute. (We call it a minute for the obvious reasons – your reel should be no longer than a minute long, with about 4 – 6 pieces on it.) Sometimes I get reels from actors that are so bad, I want to call them and ask them who they paid to give them such horse plop. Sometimes when I do ask actors who have started studying with me and think they already have a “reel”, they say, “oh, I did it in my basement.” YIKES! If I were a top NY agent, that person would have been eye-rolled at, and never considered again as a perspective client.

Sometimes in my classes, I actually play a reel that was sent to me, vs. a reel that we’ve either produced at Phantom, or a random minute from voice bank. It’s kinda like listening to the bombers on American Idol, vs. the ones who make it to the top three. This is your career we’re talking about! Don’t rush into it, do it for “ a great price!” or do it in your home studio. Again, ya got one chance to impress these agents and casting directors. And believe me: You AND your reel have to sound as great as the best of New York’s best.

Another thing about doing a reel: don’t do one until you’re ready. Financially, and technically. Sure, I can produce an amazing reel for anyone, but I won’t. Why spend all that time, effort, and money in the studio with dozens of takes, and equally as many edits. Like I just said: YOU should sound as impressive as your reel. If your minute gets you into the office of a top NY talent agent, you need to sound as equally as impressive the second you open your mouth to read the piece of copy they hand you. Ya get one chance, kids. Do it right. ‘Til next week!!!

Doriane

        

The answer to some of your questions - How I became a NY Casting Director:

Hello, NY actors!!!

I was asked to write a little something about myself -  specifically,  how I became a professional NYC Casting Director. Mine was a bit circuitous, but alas, I found myself in the job I love the most. I guess, If you were to ask any NY Casting Director, you’d see we all came to this career through different paths. Some of us were actors, directors, assistants who moved up… just like all careers, things just progress from one place, or step, to the next. In my case, I started out in the jingle business. I sang on many National Television and Radio commercials. Getting into that career was fairly easy, because I was born into it. My father, an amazing jazz musician, wrote music for jingles, so I started very young in that field.

Acting-wise, by I started out by studying the art of acting – more really to get over my shyness, and to make better direct eye contact with people (which I might add, completely helped!) I built up my confidence, and continued to study acting simply because I loved it! What an outlet it was for me! But even more so, I loved to watch the directors direct….(hmmm. a sign of the future?)  I then started to book on-camera commercials. I have a friend who was a NY talent agent at the time, and every so often she sent me out on commercial auditions. I didn’t take it that seriously, because all the while I was still jingle singing, and singing for song demos. When the jingle industry made a huge shift, I found myself, along with so many other folks on the NYC jingle scene – wondering what I was going to do next.

The two people who now own and operate my home base, Phantom Audio, (a state-of-the-art audio production recording studio that casts for, and produces literally thousands of commercials a year) had been long-time friends and came out of that scene as well. They built this huge business from starting small. That’s where I came in. I started small too, and worked my way up. First, I worked in the office. They then realized that they could use my musical skills by doing the music searches for the commercials - which I still do from time to time. Being a music supervisor for radio and television commercials – as well as promos -  is great, challenging, and so rewarding when you’ve found that perfect piece of music, but being a Casting Director in New York is just the bomb! As soon as business started to boom for Phantom, I started to sit in and watch the sessions. They needed someone else in the booth (and then to eventually take over) and Yippee! I was the one! Being a NYC Casting Director, I get to work with New York’s BEST actors. The world’s best actors, as far as I’m concerned. 

Over time, I earned their love and respect. They take my direction with open ears, and an open mind. In fact, it was because of many of those same actors that I became a coach. Some would suggest that I coach, some simply ended up asking if I’d coach them, so they could “stretch” a little, or work on areas where they weren’t booking as much.  I love what I do. Both Casting and coaching. I’m blessed beyond words.

Doriane,
http://www.dorianeelliott.com

        

A NOT-TO-BE-MISSED 3 HOUR SEMINAR TAUGHT IN A STATE-OF THE-ART NY RECORDING STUDIO, TAUGHT BY (ME!) A NY CASTING DIRECTOR/AND HOW TO GO OVER COMMERCIAL COPY


Hello, NYC Actors!

I received an email from a NYC actor asking me how I got my start in casting. So in my next blog, I will tell you a little something about myself, how I got into this, and what is expected of me as a Professional NY Casting Director, and what I expect of myself as a coach as well. Today, I’m itching to tell you about how I think ALL ACTORS should go over commercial copy when you’re sitting in the waiting room, preparing to go into your NY casting call. This applies to Voice Over, or for On Camera.

Before I get started on that, I’d like to inform you of a seminar I will be holding at Phantom Audio, my home base, right here in NYC. Phantom is a State-of-the-art audio production facility where literally thousands of casting sessions take place for all of the commercials, industrials, and promos that get recorded and produced there each and every year. I also produce all of my NYC “graduating” students’ demo reels there as well. (To listen to the reels, and to get more information about the classes, etc., check out my site at www.dorianeelliott.com )

This particular intensive will take place on Wed. 6/18, from 7 – 10pm. Bring a pad, and a pen, and your sense of humor. Your voice and whatever acting skills you’ve acquired would be great too, as you’ll be getting up there behind that mic, on the other side of the glass, which will let you see just what it’s like to be in a professional New York Casting session, or better yet, the recording session of the REAL gig! What will this 3 hour seminar teach you? You will receive vital information from me, a NY Casting Director for over 10 years now. You’ll get time behind the mic, and I promise you, while it can be nerve racking for some, it’s a lot of fun for all. You’ll also be learning about all the doe's and don’ts of the business. We will be incorporating many of the things I discussed in my first blog, as well as learning the craft of breaking down the copy, along with my technique of going over it - so you don’t become “married” to it – a concept easier said than done. You will also learn the importance of body language, mic technique, and how to sound natural behind the mic. At this seminar, I’ll be able to determine what level you’re at, and I’ll be able to let you know what your next step should be.

We just finished an advanced 5 week class and on the last week, two agents came, and one has already called 4 out of the 8 students that attended! (Am I a proud mama, or what?!) Even though we have fun, I mean business when you’re in that booth! I Looooooove to see results, and I particularly love it when agents walk away impressed (Note: Agents ONLY attend my advanced classes. They NEVER see you actors before you’re absolutely ready.)

I only allow 8 – 10 students at any seminar, and no more than 8 in my 5-week classes, as I want you all to get sufficient time behind the mic. So please email me if you’d like to save a space in this one. The cost is $125. (decasting@aol.com)

Okay! Now on to that “easier-said-than-done” technique of going over copy, so you don’t become “married” to it. I say it’s easier said than done, because most of you have become accustomed to reading commercial copy the way YOU think it should be heard. Fair enough. You need to bring something to it when you’re either in front of the camera, or behind the mic, right? The problem with that is, that when you go over copy a gazillion times before you meet the Casting Director, you do in fact become “married” to it. At that point, it’s hard to switch gears, and change on a dime. And trust me. You only get a couple/few takes with the Casting Director, so you really want to be as malleable as possible.

Believe me, it ain’t easy retraining your brain, your mouth, your eyes, and your acting “soul” to do this, but TRUST me when I say that the information that I’m about to give you is KEY to nailing takes when you’re in you’re NY commercial audition-- on-camera, or voice-over. This technique is what I train all of my private students who are anywhere from beginners to pro’s – you know, the folks who are booking everything from Promos to Commercials, to Industrials, to narrations, to even trailers.  Some of them are even News Reporters, now anonymously booking voice-over spots for commercials!

So. After you’ve broken down the copy (something I will go into further detail on another blog, but in the meantime, just think to yourself – “what’s going on in the spot, where do I as the character or voice-over fit in, what might the music be, what’s the conflict, set up, send off, etc.”) sweep that all away, and start going over the copy as flat as you can. No inflections. In other words, be as mono-tone as you can, yet tie the words together so you don’t sound like a choppy robot. Go over it as slowly as you have to, without having any mistakes in your reading. When it’s flawless, pick up your speed. Each time you technically say the copy perfectly, pick up your pace. And when you make a mistake, slow it down again. Remember, NO inflections!

You’re doing this to to train your eyes to “capture” words faster, your brain to get used to saying the copy correctly, and your mouth to not trip over all the words. The emotional part all comes later, when you’re either in front of the camera, or behind that mic. This is the challenging, sometimes “un-fun”, technical part, but OH-SO IMPORTANT. Because when you’re finally in front of the Casting Director, technically delivering those words to him/her on a silver platter, you’ll be able to think clearly, and LISTEN to the Casting Director’s direction, rather than think to yourself “oh, crap! I just screwed up so many words!!!! Ugh!!!!”)  And, you’ll be  a clean slate. Utterly “changeable” for the Casting Director.  Again, this is easier said than done, and if not done correctly, bad habits can be formed. (Like you THINK you’re reading flat, and yet there are inflections all over the place.) Anyway, give it a go. You’ll have  a TON more confidence when going in to that audition, mark my word. My students BOOK because of this very technical aspect of going over the copy. They get agents. Wow. So many tips, so little time…if you have questions, please email me, and I’ll get to them as soon as I can. Until next week!!!!


Doriane

        

Hello, New York Actors!


Thanks for your emails, and while it’s hard for me to answer them individually, I thought I’d touch base on some of them, since they all seem to be similar in theme. I’m either getting experienced actors who are new to New York City, or people wanting to know how to break in. First of all, I want you all to know that the career path you’ve chosen isn’t an easy one, especially without perseverance, and drive. You can have all the talent in the world, and without vision, goals, and determination,  you’re as good as… well, let’s not go there… suffice it to say, STAY FOCUSED!!!!

Okay. I was going to dedicate this blog to how you as NY actors should tackle the copy when going into a NY audition. (I say NY a lot, because I’m a New York Casting Director. It’s what I know. I have no idea how it works in Dallas, or Chicago, but I will tell you that it looks like I’ll be teaching a few seminars in LA the coming months, but more on that later…)

I’m getting broad questions like: “How do I get into a NY showcase?” (For theatre? Commercials?)  “How do I break in?”  “I know I can do this – I have the look and personality…I just need advice and/or a reference in which you could help me with getting an agent.”

First of all, there’s a handy monthly book called the Ross Reports, which shows you all kinds of breakdowns, lists, agents, and Casting Directors. But that doesn’t mean that any of these folks will see you. They get DOZENS of postcards, headshots and  cd’s a day, and not including emails!!!! So, how does one get SEEN by a New York commercial agent? (I’m sticking with NY commercial, because it’s my expertise, AND if I cover every genre, this will be the longest blog in history.)

This is my SIMPLE answer: First of all, make SURE you are READY to be SEEN by a NY Casting Director and/or agent. We don’t care that you’re pretty. Or that you have a nice personality. Or that you think that with a 6 -8 class seminar, you’re ready for your close-up. It takes a heck of a lot more than that to make your NY debut with one of us, a successful one.

Study. Take a good scene study class. (I personally like Meisner.) Take a good commercial class. Find the best teacher for YOU. Do YOUR homework. Find out why that teacher is teaching, and if he/she is an actor, ask them what have they booked lately? If he/she a Casting Director (like yours truly) how often do they cast? And what? Are they out of work and this is their means to an end? Do they have connections? Do they hold these five week seminars where agents show up and now you’ve blown your one-and-only shot at shining in front of those agents after five lessons under your belt???? Again, do your homework. There are a lot of “teachers” and “schools” out there who want your cash, but they’re folks who can’t do much for you. THEY PREY ON YOUR DREAMS.

Do I teach? Yes. (My website is dorianeelliott.com) Do sometimes my lessons get bumped due to a casting session? You betcha. Do my students who get bumped end up at my casting call anyway? If it’s for the same type (age, sex, etc.) they do. Will I ever hold a seminar for beginners (or even intermediate) with agents there? No way. I want the agents totally impressed by my students EVERY TIME I ask for their presence. This is your one shot. Don’t blow it. Besides. I have my reputation to uphold…

One thing I do with my own students is I have them accompany me to my casting sessions. That’s right, they sit in, and watch, and learn. And if  they’re ready, (that’s when I  think they’re ready, not them) I let them give it their best shot. By being able to sit in and watch me cast, they can see the pros that they will one day be up against. They can study them, take from them, (yes, stealing is the highest form of flattery, didn’t you know?!) and at the same time, they get used to what they can expect at a NY casting call.

So, how do you get in? In order for you to get in, be prepared. Don’t just be another pretty face. Be smart. And then when a teacher you can TRUST tells you you’re ready, be in his/her showcase. Find out who his/her connections are. Trust me, it’s worth the wait to do this RIGHT! Okay. Until next week. STUDY!!! Do your homework!!!

        

Hello one and all!!!

My name is Doriane Elliott http://dorianeelliott.com/ and I have been a NYC Casting Director and voice over coach for a little over a decade now. I teach on–camera commercial technique as well. Each week, I’m going to write a little “NY Blog” – things that have either come up in my casting sessions, or in my classes or private coaching sessions -  that I either love, or that irk the heck out of me. Things that I believe are important do’s and don’ts for NY actors. This week, I’ve been asked to briefly write about how you as actors can “impress the Casting Director”. I swear, it doesn’t take much, and I promise, it doesn’t involve flowers, or even fake compliments. All of these, I will go into further detail, as the weeks go by, and as the examples come up.

I think as a Casting Director, things you can do impress me would be to:

1. When you get to your casting call, be there on time. When you walk through the Casting Director’s door, be prepared. Don’t work the script out when you’re behind the mic, or in front of the camera. Go over those words until you’re MORE than familiar with them. (there is a technique to this which I will cover in my up-coming blog. It’ll help you to become more “malleable”, and  get you to adjust your read, from take-to-take. Don’t miss it. It’ll help you not only impress, but BOOK as well!)

2.  Dress for the part if it’s on camera, and not YOUR "cool" or "innovative" version of what you think a character should be. And if it’s for a voice-over, please don’t wear noisy clothes. (Boy, do I have stories about that! Stay tuned…)
 
2. Be professional. Don’t pretend to be my friend and talk about personal stuff, unless, we’ve naturally become friendly over TIME. THIS IS YOUR ALLOTED SLOT to work with me, and get the read you need. I want you to leave happy with your performance. But if I’m backed up, and you’re chatting away about what  you’ve just booked, or about how slow the trains are - and we barely even know one another - I can’t work with you for as long as I’d like to. YOUR LOSS! NEXT!

3. Make sure your pictures look like YOU. (ugh, the stories…)

4. Not give us your opinion of the copy. If it’s poorly written, don’t you think we know that?  (I have a few horror stories regarding actors, their opinions, and either a client they didn’t know was in the studio, or a client that was listening via phone patch. Not good.)

5. Have good mic technique and please, always ask if you can adjust the mic before touching a thing.

6. Use your body, hands, and arms they way you use them when you speak every day. If your body is stiff, so will your take be. I swear, body language is key, when doing both on camera and voice overs. And let me tell you, we casting directors are so HAPPY when YOU bring the copy to life. Don’t forget: we WANT you to look good. If YOU look good, WE look good…

So, these are just a FEW  things  you have control over when coming into your NY auditions. Again, I'll  go into full detail regarding these, and other issues that have come up in my own casting calls.  Feel free to email questions to me, and I’ll post a NY Q&A blog. Tune in next week!

doriane
http://dorianeelliott.com/