In this crazy industry of ours, casting directors get a lot of attention. Second only to talent agents, casting directors are the target of aggressive and persistent mailings.
And that makes sense. Actors assume (correctly) that if they can impress the casting director, they are that much closer to booking the job. But here’s the funny thing about casting directors…
They don’t direct, and they don’t cast.
So what DO they do?
The casting director is the great eliminator. He is the gatekeeper between you and his client. (His client being the creative team of a film, play, musical, commercial, or some other project.) This means that he is responsible for lining up as many actors as he can, and then doing this…
Much like Madeline Kahn, the casting director will eliminate you based solely on your, ahem, look. Meaning you’ll never get to attend that meeting with the director.
If you wanna get past the CD, there are a few criteria you have to meet. We’ll talk about each of them in order of importance…
What Casting Directors Look For
1. Your Look: This first one shouldn’t surprise you. If you get a callback, you can credit 60% of your success to the way you look.
Notice that I didn’t say your looks, plural. That would imply that your success as an actor depends entirely upon your gene pool. Let me assure you, you don’t have to be gorgeous to be an actor. You don’t even have to be pretty, you just have to be authentic.
Your look encompasses everything. Not just your clothes or your hairstyle. It’s also your socks, your shoes, your fingernails, your handbag, your facial hair. And don’t forget the immaterial things as well: Your posture, your speed of movement, and the way you use your hands.
Maybe you think it’s unfair that the acting biz is so fixated on appearances…
Well get used to it, my friend. The sooner you accept that reality, the sooner you can play along and therefore empower your career.
2. Personality: Okay, so you haven’t been typed-out based on the way you look. Congrats. Now you must prove that you’re not just a pretty face… (So to speak.) Show them your personality.
Remember three paragraphs ago, when I mentioned authenticity? You have to be unlike anybody else they’ve seen that day; original, unique. You do that by staying free of nervous tension. When you’re relaxed, you breath slower, deeper, and easier. And that will allow the real you to shine through.
Another great way of being authentic is to approach the work differently. Imagine you’re sitting behind a table, hearing the same three sentences said by hundreds of actors. All the sudden, an actor comes in and has a completely revolutionary point of view about those three sentences. Wouldn’t YOU sit up and pay attention?
The second component of personality is confidence. From the moment you enter the room, all eyes are on you. And by the time you begin speaking, they’ve pretty much made up their mind whether they want you or not. That’s why it’s important to stride right in with your head held high. Stand up straight. Smile. And if someone wants to shake hands, maintain a firm and steady grip.
And one more thing: Look everyone in the eye at least once. Why?
The decision to give an actor a callback has to be unanimous. If even ONE person says no, you’re out. They don’t even have to give a reason, they might just say, “I dunno, he just didn’t do anything for me…”
They’ll squash your hopes and dreams right then and there, simply because you didn’t pay them any attention. Simply because you didn’t look them in the eye.
Now, I always become wary when I discuss confidence with my coaching clients. I’m always worried they’ll over-compensate and come off as pompous, even combative. But you know better. Don’t be that person.
Bottom line is this… When you walk into that room, you have to sparkle.
3. Believability. In days of yore, actors would shout and beat their chest. They would indicate with their hands and over-enunciate every word they said. Of course, stage lighting, body mics, and video cameras hadn’t been invented yet.
As technology advanced, audiences became smarter. Their bullshit meter became more finely tuned. (Don’t believe me? Go back and watch any movie from the late 20′s or early 30′s.)
What does that mean for us actors? We have to be believable. We have to be natural. That’s why casting directors look for sincerity in actors. If you can fake that, you’ve got it made.
Believability comes from training. So get yourself into a class, and do it now.
4. Likability. This one is tied to #2, personality. See, people only do business with those that they like and trust. The casting director wants to know that you’re likeable, easy-going, and won’t cause any trouble while on set. Because if you do, there are plenty of actors who can fill your shoes in a heartbeat.
From the moment you enter the building, be nice to everyone. The door man, the secretary, the janitor, even the homeless guy in the foyer. EVERYONE. Because you never know who’s talking to whom.
5. Talent: Surprise! Talent is absolute last on my list. Which makes it least important. Wanna know why?
Because if you’re there, the casting director is assuming that you’re talented. Otherwise you have no business being at that audition, right?
Every day, I field emails from readers like you. And they all want to pursue acting. And when I ask them why, they say, “Because I’m talented. I can act, and sing, and dance. I’m a natural.”
What I’m about to say might make your head explode, but bear with me…
There are a LOT of talented people in the world. A LOT. Tons.
Those people you see on TV and in the movies? They’re there because they had a great look. A great personality. Because they were believeable EVERY time they auditioned. Because they were well-like by their industry peers. And yes, because they had talent.
Master these five components, and casting directors will swing wide the gates.
These five concepts are just a fraction of what I teach in my private coaching sessions. Spend 30 minutes on the phone with me, and I can help you have the kind of acting career you’ve been dreaming about. Click here to learn more.
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