Welcome. Here’s a little section from the upcoming Committed Impulse book. Leave a comment, and let me know if this is helpful, and what other topics you want to read about.
I have sat in on many auditions. Either I was already cast in a project and the director wanted me to read with different actors or I was directing something myself and looking for the right people to work with.
There’s something I have seen repeatedly that I want you to avoid.
An actor does an amazing job. The casting director and the director start to light up and get excited at the possibility that they may have found “the one.” The actor finishes reading the material. There’s some congenial chit chat and the actor heads for the door. Moments later the director no longer thinks she’s found the one.
How could that be?
Here’s the thing. You do a brilliant impulsive, truthful audition. Everyone’s excited. But, on the walk to the door you start analyzing how well you did. And, as we know by now, when you follow your mind, it will more often than not conclude with the “fact” that, “Yes, you indeed do suck.”
The result…
You leave the room and everyone is left smelling that pile of decomposing scrod you left on floor as your parting gift.
“Hmm… I thought they did a good job, but maybe I’m wrong,” the director starts thinking.
On that walk to the door when you begin thinking you didn’t do such a great job, guess what, you can sway the director to doubt his impulse to hire you. I’ve seen it happen.
Your judgmental thoughts sour your irresistibility.
What to do?
When you leave the room remain present. See the walls, see the door, feel the handle – but not in a weird way, please. Just incorporate what we’ve been talking about throughout the book. And don’t forget to say something at least halfway normal on the way out. You can do it.
I have heard directors say “the moment they walked in the door I knew they were the one.” But the flip side is also true. The journey to the door can lose that actor the job.
Suggestion: create an opportunity where you get your butt on the other side of the table in an audition room. Casting directors are often looking for readers to assist in the audition process. It’s a great classroom to learn what elevates and what crushes the vibe. Plus, not a bad idea to have a director see you read a scene 30 times.
Love this! Such an interesting & smart topic. I totally agree with you. The moment your energy shifts, everyone around you feels it, even if you don’t utter a single word. I think I’ve sabotaged auditions doing this very thing and didn’t realize it until you wrote it! Keep it up, love reading!
Thanks for your comments.
Yea – we’ve all been there.
My wish is that now that info will eradicate your sabotage.
HAVE FUN!
thx
Josh
.-= Josh Pais´s last blog ..How To Walk Out Of An Audition. =-.
Yes!
Yes!
Yes!
I can only buy one book, Josh, but man, am I gonna 🙂
.-= Llyane´s last blog ..Piece Of Mind =-.
great advice and so true — whether an audition or a regular job interview or a first date or whatever. thank you for the reminder (i have an audition today, so i’ll be keeping this in mind)!!
Yea – this definitely applies to situations beyond auditions. Good point.
Have fun at your audition today!
.-= Josh Pais´s last blog ..How To Walk Out Of An Audition. =-.
Josh,
I loved the premise of your book section – however you’ve asked for honest feedback – so here goes 🙂
* could you be specific on how to be, or perhaps what to say as they leave the audition (or pitch/meeting?
As it stands it’s a bit like – ‘hey don’t blow it as you leave with your silly self man’ – I’m exaggerating of course.
Thanks,
Thor.
Hey Thor
This is a great comment.
I go into this in other sections of the book.
However I don’t give specifics on what to say.
When we are present in situations, 99% of the time we handle ourselves perfectly. I’ve booked a lot of jobs – but only when I was present. And each situation was different, and I handled each situation differently. To presetting what we’re going to say usually leads to saying something ‘out of sync’ with what is actually going on. Directors want someone who is present and deals with what is going on currently. They don’t want a preset performance or conversation.
I wish I could give you a perfect thing to say that worked all the time.
Thanks for your feedback!
Josh
.-= Josh Pais´s last blog ..How To Walk Out Of An Audition. =-.
Well said, and so simply put!
Its true. Body language is the earliest form of communication and it needs to be considered in these scenarios.
Thanks for this, I needed the reminder!
Josh! This is a great topic that goes hand in hand with saying ‘thank you’ at the end of the work. Karen Kohlhaas always makes a point of including the exit from the room as a part of the audition. I agree with Thor, that even though this is probably just a part of the chapter, providing different scenarios (ie once the camera is off or once the auditors have gone back to paperwork) that illustrate not just what happens when you rock an audition, but what happens when you don’t feel that click and you want to vanish as quickly as possible. Working through a difficult audition is what makes actors afraid to audition, and those are the ones that are hardest to stay present in. could you talk more about that perhaps? See you in October! I’m taking the class! Thanks for sharing Josh.
GREAT stuff, Josh, and so, so true… Thanks! Can’t wait for the book.
To Michelle above – good point on job interviews/dates as well.
This selection reads well. When an audition has gone well for me in the past the exit comes naturally and there’s no method involved. I usually try not to turn around and say “see you on set!” on the way out.
Great advice. Thanks Josh
Hey Josh!
Great post! Looking forward to reading the full book.
You made SUCH a great point. I’ve seen many people (myself included) finish an audition and score their face in disgust (the subtext being, “yeah, I sucked.”) Sometimes it’s not just what you say but how you literally react with your facial expressions and body language.
I’ve worked as a reader before and it’s a completely invaluable experience. So interesting to observe how attitude as well (particularly arrogance) can be a HUGE turnoff – and actually a deal breaker.
As one casting director told me (especially if you’re an unknown), they gotta assume that the way you behave in the casting office is the way you’ll behave on set – so don’t give peeps a reason NOT to hire you!
Sorry – that was a longer response than I anticipated! Muchas gracias, xo
Such great info.
Thx Catherine!
YAY JOSH! on my way to an audition in about 30 mins. perfect timing! can’t wait.
.-= grasie´s last blog ..busy day =-.
Love this!
Great post Josh! I’m looking forward to getting the book. I read this right before an audition tonight, so YAY!!! That helped. Loved the class and am saving up money to come back. It helped me with acting AND with life. Thanks, and much love, Krista
We look forward to seeing ya in class again, Krista.
We start up in October.
Have fun
J
This reminds me how to stay out of my head on the way out of the room. Thank you Josh. I am enough just by being present. The rest will be a surprise. That is the risk and the fun.
It’s amazing how your advice always resonates (so excited for the book). I think it’s so easy to forget that the exit from the room is their final impression of you and the last juicy time you have in the room. I’ve done the shuffling out, already in my head version and it never feels the same as the present and gratitude-filled exit that can occur regardless of how I felt about my work. Thank you as always for the insightful, deeply applicable reminder.
Having recently worked as a reader for the Powerhouse season, I was really surprised by how many actors practically ran from the room! I think we can feel so vulnerable after we’ve worked and it’s so normal for our defenses to go up. What a great reminder to stay open and present and to remember that we’re still “working” when we leave the room. Thanks!
Hi! I love this post. Having experienced both sides of the audition process and having worked as a casting director, I have a few observations I’d like to share:
1. It’s not all based on the actual audition, alot of the people we booked for huge jobs, we booked because they were just happy, kickass people who didn’t think too highly of themselves and treated those around them with respect and were dependable. (Treat the assistant well!!!) They might have made a few mistakes whilst saying their lines etc, but they were in the moment, in the flow and we felt it.
2. Sometimes (often), the performer would blow us away with their performance and then do something really stupid or offensive or cringe-worthy afterwards…and blow their chances. This is why I think your post is so brilliant!
3. It’s not all about your looks. When casting for very lucrative, high-end jobs (using models as well as actors) often the people who were booked had an authentic glow about them and were far from the most attractive-see point one ;-).
Looking forward to the book!
Hello Josh,
Your article is really Awesome. I got too much information from this post. I am glad to read this great post. Thanks for sharing such a beautiful article. Keep posting.