Casting Call Magazine

Casting Call
Your Doorway to Hollywood! Home
No Frame

Dec. 2011

Casting

Call

STAY TUNED for the new December Issue

of Casting Call Magazine

Magazine

Craig

with

Robert

Young

Casting Call Spotlight is a bi-weekly list of casting calls that

showcase what Casting Call is all about!

Masters Of Machines
food network
Paperny Entertainment
Frantic Films
Utopia Entertainment INC.
PROPER Television
Knight Enterprises
Food-Network.jpg
fuse
MCC Theater

(click on images above)

BEHIND

ARTICLES

THE PROFESSION OF ACTING REQUIRES GREAT DISCIPLINE, PASSION, AND COMMITMENT.

the

SCENES

By Ken Davis - Kenneth_castingcall.com

That dedication and passion has started to pay off for the British actor. He has done a ton of work in television, landing parts in popular TV series such as Lost , NCIS: Los Angeles and Melrose Place . And he played resident bad boy Alex Wilkinson on the acclaimed British television series Dream Team . And in addition to Design for Living , Craig has acted in other notable plays and has appeared in several films. A versatile actor, Craig is adept at both drama and comedy. He also writes, produces and directs.

Craig was born in Nottingham, England on October 4, 1976 and is the youngest of five siblings. His father was a coal miner and his mother a bingo caller. Craig’'s first foray into the acting world was quite fortuitous. When he was ten, he accompanied his 13-year-old sister to an audition for a role in the play The Price of Coal , which was written by Barry Hines. Craig had no aspirations of becoming an actor at the time. However, while his sister was auditioning, the director noticed

While watching Craig Robert Young rehearse a scene from Noël Coward'’s play Design for Living at the Celebration Theatre in Los Angeles, I was taken with how focused he and the other actors were in their performances. They were completely immersed in what they

were doing, impervious to any outside distractions.

The actors were totally transported to the world that Coward had created with his words. I had never been to a rehearsal of a play before, and it was quite impressive to see up-close the type of focus great acting requires. I couldn’t help but admire the commitment and passion of these actors on the stage before me.

“ "I think you have to live and breathe it every day,”" he said. "“Every day I think about acting. Every day I’'m working on my craft, whether it’'s doing plays, or whether it’'s auditioning or studying. You have to have complete discipline."”

During the premiere launch party of Andy And Chaz Bugger Off To America a new web-series, [starring Craig Robert Young (as Andy) and Darren Darnborough (as Chaz)], both explain how the problematic tandem of two brothers who are foreign to the U.S. and on the run from the law, must now find there way in and out of challenges mostly created by [Chaz]. This fresh, and very comedic take on two fugitives, gives us a new glance to many great characters, and not to forget the very talented writing and directing of Richard Keith.

Read more...

From the depths of the expansion of one's mind, how does one select the range or the details of a musical score? Or how does one develop the 'muscle memory' of one's 'internal sight'?

Howard Shore goes into detail in this personal up close interview documenting the intimacy of his work and how he transforms his personal expression for his own musical journey. He explains the subtle, yet very specific details of his

A Composer's Dream

Talvin Singh is interviewed here by Sharad Kare, on how it is that one's journey can somehow lack a level of integrity when it is at that 'first level', and it is the 'long journey' that is very necessary to shed one's imaginative ego.

He goes on to define the variances within the art of music vs. the entertainment of music, how there is a new divide between the two, and how that challenge is more

Talvin Singh

important for him to be an 'expression' rather than for it to be an 'impression' to all those that he performs for.

Talvin Singh has definitely mastered the manipulation of sound from his Tabla [his personal instrument of choice], where it is his style of rhythmic bursts of percussion that draw out his personal style of raw sound, and unique melodies. Not only is Talvin a unique musical talent, but he can effortlessly achieve his own unique artistic style.

mind, as well as the learning process that he believes one must fight through. It is this very important struggle that he considers to be his 'inward' discovery, a much needed step toward fulfilling his lengthy task as a Musical Composer.

Shore walks us thru his music filled 'dream-like' world, as he carries out his daily task of writing music, eventually amassing a personal realization of his 'muse'.

Casting Calls hollywood

( 0 )

Text Only Text Only

( 140 )

NEW

36 Postings

( 60 )

Text Only

( 6 )

Text Only

( 14 )

Text Only

NEW

( 38 )

6 Postings

Text Only

VetsOnSet

Cabo San Lucas, MEXICOCASTING CALL MAGAZINE'S - CASTING CALL CABOCASTING MODEL/SPOKESPERSON TYPEDATE/TIME:DECEMBER 30th - JANUARY 3rdemail for APPOINTMENT TIMECASTING CALL LOCATION:Hotel Finisterra Domocilio ConocidoCabo San Lucas, BCS Mexico 23410Phone: 011-52-624-14-33333www.bajahotels.comCONTACT PERSON:EDWARD AVILAPUBLISHER/CEOplease send all inquiries/emails to:info_CASTINGCALL.COM

Articles

mastering the audition

By Professor Hollywood

AuditionsAuditions can end up being quite a frightening experience, and often even more intimidating than a press night. It is definitely a shared thought, that an audition can change an actors career forever. An actor must audition.As an actor you must do this, so the lack of this much needed work can become problematic due to the issue that the actor must work with their skills for long periods of time, and that time may not been available. Not working enough with one's character, may enduce a 'rustiness', and the 'missing' of one's depth emotionally, physically, and technically. Never forget another important element of your audition, the ability to deal with personal bearing. Having the creative instinct to overcome the onset of one's nerves and fears, this of course should rank as a high priority.Back in the days it was usually common for a job to be gained by means of an audition piece. Actors would have a portfolio of speeches which could be shown anytime. These types of audition pieces are still being used but in only certain types of cases like an initial break from drama school, or other certain jobs in the dramatic arts, but even then these are quickly losing their importance.Auditions at one time would even take the status of a 'me' vs. 'them' scenario, with an audition panel sitting high up, and perched in the darkness. In front of them stood the actor, in character, and performing up on stage, exposed. In retrospect, this was in a way safe from all the formalities and complications of todays audition pitfalls. It's now more likely to have an audition in the form of reading a part to be cast, working it out with a director or producer, maybe even a casting director. Earlier methods of the audition would involve the actor in a sight-reading, an actual discussion of processes or works that were molded to test the actor's flexibility and their knowledge of the writings. Preparation for an AuditionWarming up is key! If you have ever been on a personal hiatus for a while, your warm-up must be very thorough. In the case of only having a few days notice for an audition, you should be warming up every day. If you have been given a script and a part to look at, work it thoroughly and remember to read the text out loud. It is important not to prepare silently. Another great technique is to read around the subject of the play and investigate any other work by the playwright. Be sure to familiarize yourself with any important creative themes that may arise in your reading of the play.In the case of an audition, not specifying a play, you will most likely be asked to perform an audition piece, or possibly sight-read. I can't emphasize enough the importance of sight-reading as a skill. Not to forget how very important it is to have a wide selection of audition pieces. These must convey not only the different aspects of your acting talent but your different styles of writing (e.g. verse, dialect, prose, modern, ancient, etc.). I definitely how it can be difficult at times when a director, or casting director is looking for someone, and the more choices you can offer them within your audition pieces, the greater the chance that you will fit the bill. One kind of performer that directors really search for is someone who is flexible and knowledgeable. Another point of insight I had recently ran across was in a discussion with a well-know director that expressed to me his concerns about younger actors. Nowadays directors speak more about how hard it is to talk to younger actors; that it is often difficult to discuss certain areas of work, one point was made in the regards to the joy of discussing personal flexibility. It was communicated that basic communication skills in an audition are not fully appreciated by the younger generation of actors. It is important to remember that the easier and more open you are to work with, the more likely it is the director will feel more enabled to work with you. This is a very important first key to gaining the success as an actor.Above all else be sure to show your imagination when approaching your audition. For example, work up any accent that may be required and be prepared to use the accent in the audition. Another would be to tune up your body or your singing voice if either is needed. Be cautious of your breathing and maintain your center as much as possibly before the audition. Make it a point to arrive with plenty of time to your location/venue, you will need time to settle yourself for the audition. Remember that any director worth working for will be wanting you to do well. No director wants to see you fail. In the case of having to endure a brutal audition, it is more often the case that they are looking for a specific type, which definitely doesn't require any proper artistic talent. It is in this instance that the 'product' is being assessed instead of talent. So, never feel in this instance that this is in any way a reflection on yourself as an actor or your talent as a whole. In most instances, if the audition is that brutal the job would more than likely be equally rough on you as an actor. Which brings me to my next point, that one of the least appealing aspects of being an actor is having to deal with rejection. Even the most famous actors have to deal with this fact regularly. It can be a week, after week, daily dose of rejection that unfortunately you will have to swallow, and overcome. Rejection is a fact of an actor's life. Actors are of course not in short supply. All you can do is prepare as well as you can, to be open, and of course understand the instant willingness to be the text, to be a true character.Learning from any audition on the simplest level is another important element as a working actor. Taking note of any physical tensions that might have gripped you, where your weaknesses my lie, and ultimately, to work on those tensions in order to resolve them permanently. Some important questions to ask are: Was my sight-reading efficient and precise? Was I relaxed enough to have a conversation with the director? It is very common to carry high levels of stress during an audition, be sure to remove these types of elements due to the fact that they will expose all your weaknesses. Take note and deal with any and all of the missteps you may discover.Lastly, be sure to transfer your creative energy from the 'you', and place that directly into the 'I', and allow that placement to be directed by the text. In the case of stress possibly getting the best of you, and making you feel self-obsessed, you will produce a very ugly energy personally, that is definitely not an attractive sight to a director that is looking for someone to work with. Most talented actors never work because they may appear aggressive and aloof at auditions. It is this type of aggression that is generally a product of fear and will ultimately turn off a director and will in the end wonder, "Can I really work with this actor?"Best Regards,Professor Hollywood

exit: Stage Fright

By Professor Hollywood

It pretty much seems nowadays that everyone seems to suffer from some kind of phobia, such as insects, heights, tight quarters, deep water, and the most common - death. So CastingCall.com went undercover and hit the mean streets of Hollywood to find out how most are more afraid to speak in public than of dying! And it was this opinion that was most commonly shared due to the logic that we have to speak publicly much more, and while only have to worry about dying just once! Strange.Regardless of the others opinions, we can surely agree that public speaking, or a first stage performance is by far a greater fear shared amongst most beginning speakers and performers.This particular fear does have a name and commonly goes by "Flight or Fight Response" or "Flight or Fight Syndrome." Now when the human body goes into a state of anxiousness or anxiety, there are a few physiological responses that begin to take place at once. It is then that brain at it's cortex will immediately send a signal to the sympathetic nervous system for it to be on high alert and prepare for action. It is now that the adrenal glands start to begin pumping out stress hormones that now trigger a chain reaction within the body. Some of these include a heart rate increase, raised blood pressure, and a rush of adrenaline in the bloodstream; which now starts blood to recirculate, now begins to fill certain nerve endings in the stomach. It is this physiological process that is commonly known as the phrase "butterflies in the stomach." A positive approach when trying to calm down this activity and moving toward a more relaxed attitude is to give this event a different name. Instead of calling it fear or nervousness, how about we call it 'fuel' for this particular article.We can agree that the name you give something or someone does have quite an affect on how you view that object or persona, and I'm sure we can agree again that a positive name will produce a positive reaction versus a negative name producing a negative reaction. So in this instance our nervousness will be called 'fuel'. This fuel will give you the ability to overcome and adapt to this common #1 fear...the audience. So why would we be afraid of the audience? Recently CastingCall.com went out and hit the bricks and scoured the mean streets of Hollywood in search for answers. We asked quite a few young actors and qualified group speakers a simple question, "Why would someone be afraid of an audience?", and together we came up with a few examples...The audience will not like us.The audience will think we are foolish or unintelligent.The audience will laugh at our mistakes.The audience will see if we forget our train of thought.The audience will be bored with material.The audience can tell we are nervous.This type of fear is commonly known as the Voice Of Judgement. It is known as the 'voice' inside us that judges us harshly and agrees that everyone else judges us the exact same way, the way in which we know is not necessarily true. Most audiences don't judge speakers as severely as a speaker would really judge themselves, and in most circumstances the audience is actually perfectly neutral. Most of us would agree that if in the beginning of a performance that if a few things are done correctly, regardless of what happens, the crowd would actually be in complete support of the presentation. So, it would be a safe to practice on how to control your attitude toward the audience, by using your fuel as a powerful weapon and source of energy in order to overcome adversity while communicating with your audience.In this instance we will use the example of Method Acting, and It all begins with your attitude toward the audience. Every great Hollywood actor is familiar with Method Acting, and knows that his is a form of acting that utilizes 'sense memory'. First properly developed by the Russian director Konstantin Stanislavsky, Method Acting is a way for the actor to identify with the character in the play, or film by thinking in terms of 'as if'. The actor strives to act 'as if' he, or she, is feeling the same emotion another character may be 'feeling' in the screenplay or film [script] is feeling. The actor then continues on to develop his/her sense memory or emotional memory, which is the ability to go back into one's life and re-think about an experience in which the same emotion was felt. The actor dwells on that experience until the emotion becomes so real the actor is actually reliving it all over again. Robert De Niro, a Method-trained actor, feels that this particular method gives an actor a spontaneity that adds to the performance.It is then that the actor carries out that particular emotion, and carries within themselves 'character' into a scene. It is this process that the character that is now being performed by the actor, and is now going through a similar understanding of a particular feeling or 'method'. It is now that the audience can, and will see the actor, the true sense of one's realism within the character is being portrayed because the actor is actually feeling the emotion of that moment openly.For example, this was demonstrated by the great actress Meryl Streep on the set of the film Ironwood. This was was a film that she played an outcast during the Depression, and in turn ends up dying in a cheap hotel room. According to an old article from Life magazine, Streep had hugged a huge bag of ice cubes to simulate a feeling of 'lifelessness'. Later in the scene, her transient husband (played by Jack Nicholson), had to cry and sob while shaking her now lifeless body. When the scene had ended, Nicholson stated that Streep, "...just laid on the bed cold, and lifeless..." He then went on to explain that after about ten minutes, she started to emerge from a deep, trance-like state which she had entered emotionally and psychologically.Brad Darrach, who wrote that particular Life Magazine article went on to say, "Meryl Streep looks, speaks, thinks, moves, and feels like the characters she plays. She is endowed with magnificent powers of self-transformation..."It is similar to Ms. Streep's transformation that even a public speaker, singer, or even a teacher can connect to his or her audience by utilizing the energy to present material so it can be believed and understood by any audience. Here are a few keys mental statements that can help mold a performers state of mind when tackling the toughest crowds:The audience is for me, not against me.The audience needs to hear what I have to say.I care for my audience.I am excited about what I am about to present.I am committed to doing my best.The audience will like me.If a performer can share some of these simple attitudes before getting up to speak, it is fair to say that any audience will be delighted with the performers positive presentation. In conclusion, the actor should think about recalling a past and pleasant experience of a successful performance. It doesn't necessarily have to be public speaking, but maybe successful reading for a casting, an audition that might have went well, or possible an open performance that brought out the best in a crowd. In recalling that experience, the actor should try to remember their past feelings of joy, pride in a specific work, maybe even a 'confidence' which helped create that ultimate successful effort, to re-create the positive 'character energy' you now need to produce. Those feelings of success, and positive self-esteem can be tapped into, now those same feelings can be brought into the present to provide a 'character confidence' that would otherwise might not be there.Best Regards,Professor Hollywood

THE PROFESSION OF ACTING REQUIRES GREAT DISCIPLINE, PASSION, AND COMMITMENT.

(cont. from home)

By Ken Davis

Craig sitting in the audience and asked her if they were related. It turns out that the director was looking for siblings for the play and asked Craig if he'’d like to audition. Craig auditioned and got a part in the play as did his sister. The play ran at the Nottingham Playhouse for six months. The ending of the play’'s run also marked the end of his sister’'s acting career, because according to Craig, her interests turned elsewhere."“She kind of got into boys after that,”" he laughed. But Craig was hooked. His mother paid for him to have acting lessons, and he went on to play the title role in a production of Oliver. And at 17, Craig moved to London to further pursue his acting career, as he felt the environment would be more conducive for an aspiring young actor like himself."“I moved to London, because coming from a small town like Nottingham, there weren'’t many actors around,"” he said. "“So I was kind of left to watching movies and television shows as inspiration...…and the local theatre productions. It was when I moved to London where I met a whole group of people, and people that were in the theatre, who were just so knowledgeable, and I was like a sponge, just absorbing it." “Craig attended the prestigious Central School of Speech and Drama in London, and in 1994 his life took an interesting turn. While working as a waiter at a London restaurant, he was approached by a man who was putting together the pop band Deuce. He was looking for a young, blond guy to recruit into the band, and he thought Craig fit the bill. Craig explained to the man that he couldn’'t sing, but that didn’t seem to discourage him. He told Craig that they already had singers, and he would only be required to sing background vocals and harmonies. So being the adventurous spirit that he was, Craig joined the band. Deuce became very popular and had four top 30 hits on the UK charts during 1995 and ‘'96. Deuce even performed on the BBC’'s legendary Top of the Pops music countdown program. Craig spent two years with the band but started to miss acting."“It was an amazing experience, traveling all around the world,"” he said. "“It was hard work, and real exhausting, but we had a lot of fun along the way. But I was just kind of yearning to get back into acting. I almost felt fraudulent being in a band.”"Craig said the band lost its record deal. And while Deuce was in the throes of signing a new record deal, the members weren’'t getting paid, so he took a job as an usher at the Mayfair Theatre in London. (Craig later left Deuce in August of ’'96.) He said working as an usher was good training for him as an actor. The movie theatre only had one screen, and they’'d often play the same film over and over again. So once everyone was seated, Craig was able to sit and watch all the films that were playing at the cinema. He said after multiple viewings of Sense and Sensibility, he was able to recite all the lines from the film.More jobs started to come in for Craig. He hosted MTV Select for awhile and then did film reviews for GMTV, the British equivalent of Good Morning America. A chance audition landed Craig the plum role of Alex Wilkinson on the award-winning British television series Dream Team. Craig appeared in 87 episodes from 1998 to 2003. The character Alex was sort of the villain of the show, and Craig relished playing the role. He likes playing bad guys because of their complexity and the challenge that these characters present for him as an actor.“"They’'re much more layered for me,"” he explained. "“I never really look at them as evil or bad. I have to kind of justify who they are as characters.”"Craig recently played a bad guy in two episodes of NCIS: Los Angeles. He played Romanian villain Dracul Comescu, who’'s head of the Comescu crime family that has a vendetta against Chris O'’Donnell'’s character G. Callen. Craig said that Dracul’'s character will make a return in future episodes of the series. He said he also enjoys playing heroic, good guy roles on occasion. He recently starred in the film Return to the Hiding Place in which he portrayed real-life hero Piet Hartog, who was the leader of a group of Dutch Resistance fighters during World War II. Craig reflected on his good fortune of not being typecast so far in his career:“"I’'ve been very lucky,"” he said. “"I'’ve played lots and lots of different roles...I'’ve been able to do comedy, drama, play good guys, bad guys. It'’s been really great actually if I really look at it...I still think the world is my oyster in a way. There'’s a lot more I can do, so I’m kind of excited about the future.”"Craig credits a few people whom he believes were instrumental in his success.“"There was an actor by the name of Gerard Kelly who’'s passed away now, but he introduced me to his agent in London and kind of turned me onto a lot of good monologues and plays, because he was a big theatre actor,"” Craig said. "“And a producer by the name of Jeffrey Taylor, who inspired me to read the classics and my manager Louisa Spring, who'’s really worked hard for me and pushed me and helped me get jobs.”"Craig said that there have been occasions where an acting job has led to other opportunities for him. For instance, his appearance in an episode of J.J. Abrams’ Lost landed him parts in two other Abrams-produced TV projects, What About Brian and Fringe.Like most everyone else in the entertainment industry, Craig has experienced his share of disappointments and setbacks. He discussed the times in his career when he considered quitting and what got him back on track during those periods:“"I'’ve considered quitting many, many times, probably every time I'’m out of work,"” he laughed. "“You know, ‘'What am I doing? I should go get a proper job.'’ And it’'s always something that pulls me back in, you know like a gift from God. It'’s like you're not going anywhere. This is what you’'re destined to do.”"Craig feels it’'s important for actors to have creative outlets outside of acting, so they can channel their energies and frustrations into something positive and productive instead of dwelling on career setbacks.“"Something that turns you on, that you’'re passionate about, whether it'’s art, photography dance, just other ways of expressing yourself,"” he explained. “"That will take your mind off of getting caught up too much in why you didn'’t get a job or what did you do wrong.”"Craig said his outlet is writing. He writes poetry, scripts, songs among other writing and stated that writing probably would have been his chosen field had he not gone into acting.Craig’'s wish list of people he’'d like to work with include dctors Kate Winslet, Guy Pearce, and Geoffrey Rush and directors Woody Allen and Martin Scorsese. He said he also likes working with up-and-coming directors.“"I love new, young directors,"” he said. “"I love the energy that they bring to a piece, you know like the collaboration feel of something...They tend to have this vitality about them. They’'re excited.”"Craig believes that the entertainment industry in America has changed considerably over the last ten years or so.“"I’'ve been here for 12 years now, and when I first came out, there seemed to be a lot more work,"” he said. “"I think they were making a lot more pilots for the networks, and now I think there are fewer opportunities. And that’'s why I think it’'s important to create your own opportunities. If you have an idea, create your own web series, whatever you can do to be seen, so people can take note of your talents.”"Craig added that aspiring actors can also do others things to get their foot in the door, such as writing their own scripts or producing something themselves. He said collaborating with writers and directors who are new on the scene might be a good way to go as well. And he feels that the Internet is a great medium that aspiring actors should utilize to get their work seen.“"Well, the beauty of the web is that anyone can create their own opportunities now,"” he said. “"I think a lot of studios are now using the web as testing ground for television. They'’re finding a lot more talent from the web as well. There are definitely still opportunities. It’'s just changed.”"Craig has utilized the Internet himself in showcasing a few of his own projects. Earlier this year, he and fellow British actor Darren Darnborough and writer/director Richard Keith created the comedy web series Andy & Chaz Bugger off to America. The series is about two London-based contract killers who are on the run after accidentally killing their boss’' right-hand man and are forced to flee to America. The series follows the two criminals, who are also brothers, as they try to adjust to life as upstanding, law-abiding citizens in Los Angeles. Andy makes an effort to go the straight and narrow while Chaz can’t seem to stay out of trouble and continually falls back into his old criminal habits and keeps dragging his brother along with him. The series is filled dark, twisted humor and is very entertaining. They have completed five episodes, which can be viewed on youtube or at the Andy & Chaz HYPERLINK "http://www.andyandchaz.com/" website. And Craig, who plays Andy, said they are developing the series into a full-length feature film.Another project in which Craig is involved is called the Toscars. The Toscars are an annual award show that takes place right before the Academy Awards which selects the best spoofs of Oscar-nominated films. Groups split off to create short five-minute parodies of the films that have been nominated for Oscars that particular year. Each group writes, produces, acts and edits the parody shorts and even contributes the original music. Craig produces the Toscars as well as participates in the competition. The event has been held for four years now.They have a big screening in Hollywood at Laemmle Sunset 5 and hold the award show afterwards. Craig said the Toscars were inspired by the film Be Kind Rewind, which stars Mos Def and Jack Black as two buddies who put together cheap, homemade versions of popular films.“"And I thought wouldn’t it be great to make these really campy parody movies of the Oscars, and we call it the Toscars,"” Craig said. “"We ran with it.”" Craig has acted on stage, television and film and said that preparing for a role in a play is much different from preparing for a role in a television series or film. He said that with a play you get a lot more time to live with the character you’re playing than you generally would for a role on a television series.“"I think the luxury of a play is that you have more rehearsal time,”" he said. "“You get to sit with the directors and talk about what the play is about. TV is pretty much immediate. You know, on Thursday you may book a role and on Monday you’'re shooting. So basically you have like four days in which to get your character down. Also you shoot out of sequence. You may do your death scene first. I think with film and television it’'s very much a puzzle that you have to put together.”Craig said he still gets nervous when starting a play. "“It always seems so daunting, so many lines,"” he said. "“But for some reason, there’'s a magic that happens and confidence, and the lines come to you. You just have to be as prepared as you possibly can. I think someone once told me about the six P’'s, which is perfect preparation prevents piss-poor performance. So just be as prepared as you possibly can and know your lines, know your marks, know what’'s going on, and above all, know what the intention of the scene is and what the play is about."”Craig said he learned a lot about acting from renowned acting teacher and director Milton Katselas, who was the founder and director of the Beverly Hills Playhouse Acting School."“He was an amazing teacher,”" Craig said. “"He would always say, ‘"If your house is not in order, if your life is not in order, then how can your career be?’ That was one of the big lessons. Keep everything tidy and make sure that you have enough money to survive, make sure that you are on your A game, and there is not stuff cluttering your brain."”Craig has certainly put Katselas' teachings to good use as well as all the other lessons he’'s learned along the way in becoming the accomplished actor that he is today with a bright future ahead of him. Craig shared these words of advice and encouragement to aspiring actors out there looking to catch their first break:“"Stay focused and believe in yourself above all else,” he said. “"I think people are so bogged down by thinking that no one’'s ever giving them a break. You know, there are a lot of people out there who will believe in you and will give you a chance.”"

Re-creating The Actor's Work

By Professor Hollywood

In this two part article Casting Call will again dive into the world of the actor, uncovering the inner workings of what most theatre actors, understudies, and television characters must endure...the re-creation of work.Casting Call knows that when it comes to re-creating a production it takes a special level of intensity and expertise. In retrospect when opening a production it probably feels like one of the hardest hurdles an actor must face, but when it comes down to it, the long running, and special skill of recreating your work and making it fresh and interesting each time you perform is no ordinary task.For example, when one receives a poor review of a performance, it might be hard for some to work through. But then again, a good review might bring out the temptation to play the review rather than the play. An actor must return to the text/script for the inspiration and internal guidance. An ill advised text, or even text lacking the creative dimension needed, will of course be harder to keep fresh, and unique. So, this of course means you will need to work harder with it. A fine, well-rounded play/script that carries lots of depth, will have much text that will offer new 'finds' in the language, even after being well acquainted with it. Every seasoned actor knows that you will be certain to find those new 'creative gems' every time you work deeply with the words, and in turn now making them your own.Making The Long RunNow due to the process of having to deal with rush technicals, previews, and then most often the 'press performance', it is common that problems start to rise to the surface after a play enters into it's run. We have created a small list below. These points will help to understand if you are ultimately working in the moment.Look for new 'fresh' aspects in each scene during every show.If you feel something is not working, make a note, and try working it out.Be sure to grind away at the character, making it your own, night after night.If you find that you don't get a laugh where you might have had one before, or possibly feel disconnected, or possibly lose contact with other actors, work on finding your energy that may be lacking.Always stay interested in the process of your work, and the script.Remember the audience, remember that there is always someone out there who doesn't know the story and can be changed by your work.Try using repetition as a refining energy, always moving toward the effortless performance.If you find that the text may no longer be inspiring you, try using different techniques to make it as believable as possible.It is a common back-fall to become cynical during a run, it is this type of attitude that will murder your character's soul. It is important to use the experience of playing a character to improve all the facets of your craft, your trade as an actor as a whole. A few things that you can alway use for improvement are your timing, audience communication, and most importantly your pace. Think of these things as a way of testing yourself, like a chef would when making a delectable meal from very few ingredients.The Patchy RunIt is also common for some theatre companies to have multiple shows working in a kind of rep system at any given time. This type of scheduling means you will have to deal with a patchy run, performing in a show that has short bursts of maybe two weeks with days or even weeks off. This is often disliked by many actors due to the fact that most feel like their momentum and connection to the script is lost. It may seem more exhausting and in many ways harder to pace yourself. It is best that in your time-off, keep your pace, keep working your voice. The day prior to returning to the play, it may be best to work with the script, visualize your characters moves, in a way you must plot out your intellectually creative, and emotional journey. And even more importantly recalling the in's and out's of your original energy needed to play the part. In most cases there should be a line-run with the entire cast prior to a come back, but if any case there isn't, be sure to speak the text aloud at least once all the way through and do a thorough warm-up prior to any performances.The Short RunIt is for the most part easy to maintain a pace during a short run. Even this type of run can have it's concerns and obstacles. An example of this would be for 'the young unexperienced actor' vs. 'the seasoned actor', whereas a inexperienced actor might do things with their voice, body, and emotional energy which would be damaging and/or destructive during a longer run. It is common for actors to know when a show is coming to an end, and after a few weeks to be tempted to risk things you normally wouldn't be risking in the begginning . For example, one might exert themselves emotionally, or even vocally, or one might risk their voices without the support. Amateur actors would have such tendencies to wreck themselves in a week, knowing that they will have a week to recovery. A professional would share these ideals knowing that their longevity is necessary in order to survive and perform their best on stage.One can even say to themselves when finding the temptation to be reckless on stage:Could I do this short-cut normally and survive for a year?How much emotional drain of this kind can I take?Should my voice feel stressed, or even coarse after three days?The best way to gauge these concerns is to be honest and try to correct anything technical that may feel wrong or may even exert unwanted pressure on you.Most drama schools cannot provide students with a real sense of pace, especially during a long run. Know that it is very important to impress on young actors that a long run will draw out many new skills and much needed techniques that only regular practice would instill.UnderstudyingUnderstudies do, and must go on. It is of course more common in bigger theatre companies that you can expect at least one actor 'going on' for another actor every two weeks or so. The main focus of the understudy is to play the part as closely as possible to the performance of the original cast member. One of the unpleasant certainties of being an understudy is that the understudy may not have had any sort of understudy rehearsal. When an understudy is set to go on, they typically only get a day's notice, sometimes even only a minutes notice, or worst case scenario to go on half-way through the show.Some key things an understudy should keep in mind:Know your lines at all times.Know the staging.Watch as many rehearsals as possible.Watch all dress rehearsals.Watch the technicals.Watch the show as often as possible from out front.If your not in the show, work on stage vocally and physically to walk and test the space whenever possible.Become familiar with the set, props, costumes, wigs, etc.Be thoroughly immersed in the show.When you are given an understudy role, assume you will perform.There have been times when I have personally seen the fear of an understudy about to go on, which is a kind of surreal in itself, so here are a few exercises that you can utilize to help calm those nerves:Breathe as low as you can. Take as much time as you need for the breath to go in.If you get the 'shakes, re-center yourself by lying on your back with your legs up. (Don't do this immediately prior to your entrance. This may drain your energy; try this technique at least a half-hour prior).Warm up thoroughly and with the company if possibly.Be sure to constantly release your shoulders, neck, and jaw tensions.Open your back. That is, hug yourself and breathe deep. This is the most efficient and immediate calming activity.Control the text. Always feel the support before speaking the word in mouth. These two points of tension will keep you in control.When on stage be sure to play each moment, try not to conceptualize the entire play or scene. You will find that working from moment to moment will help you focus.If something goes wrong, always be sure to maintain your bearing. Canceling it out and move on.Always think within the space, be sure to maintain clarity and tell your story. You might not fall under great performances but if your trying to reach the audience, audible, and communicating the plot, you will definitely serve your purpose.Ultimately after the show you can be sure that nothing in the theatre will be so nerve-racking again and you can be pleased that you survived!Acting is nothing short of intense and mindful creative work, and Casting Call is willing to take on those who might think different when it comes to informing those that desire the knowledge to perform at a higher level when honing their craft....especially when having to perform over, and over again.Best Regards!Professor HollywoodCasting Call encourages any feedback, or for those that may have questions feel free to contact me directly at: ProfessorHollywood_castingcall.com
Shiny Edge

Actor Help Line

Frequently Asked Questions

There are stories from agents, casting directors, entertainment managers, celebrities and much more. Take the time to read these previously issued stories. You will be surprised to the amount of insight you will discover.1. How to get started in the business? How do I become an actor, model, singer, etc.?First, and foremost, you must believe in yourself and have the confidence in the talent you possess. Second, work at your talent, take acting classes. Try out for your local theater productions. If modeling, work with local photographers, they continuously need to practice their craft and are in need of models for their portfolio. Exchange your looks, for their services. You don't need to spend a lot of money, but instead you should invest in yourself. Remember, this is your business, creating your talent is your business now. 2. Do I need to move to Hollywood/Los Angeles or New York to get started in the business to become well-known, or get discovered?You do not need to spend hundreds or thousands of dollars to relocate in order to be discovered in this business. Start locally and as you get better with your trade, by gaining experience, as well as expanding your talent. Extend your search to larger cities closer to your area. You will be surprised what you will find. Be sure to find a talent agency closer to you, these agencies may already be connected to Hollywood, or New York.There are many legitimate talent agents throughout the country that are looking for new, undiscovered talent. You just have to take the time and search, they are not hard to find. When you have accomplished this task and have found one that has caught your attention, you will need to set up an appointment to go meet with them. Remember, an agent can't make money unless they find good talent to book, or find work for.3. How much do I need to invest in my career to get started?Like any business, you need to invest into that business. Always remember, this is a business you are investing in YOURSELF. You are that 'business', You are the 'product'. But you need to invest wisely. Invest in local acting classes, singing lessons. In regards to head shots, invest no more than $200 to 300 dollars with a good photographer when securing photos for your portfolio. Sometimes you will be able to trade off your looks for what you may need. Remember, the photographer needs photos for his portfolio as well.DO NOT INVEST INTO THESE TRAVELING TALENT SEARCH COMPANIES THAT PROMISE YOU THE WORLD FOR $1,500 TO $3,000 BECAUSE YOU HAVE THE 'LOOK', AND THAT YOU WILL BE MEETING CASTING DIRECTORS, OR PRODUCERS. THAT IS A SCAM! 4. Should I take acting classes or what type of training do I need?Yes, if you are planning on getting into the acting business you will need to take some kind of acting classes. Go to your local high school, and/or college and sign up for the next play, just get involved. Even if you only volunteer, this will allow you to help out on a productions, even behind the scenes. At least you'll be around it all, now really able to now learn about entertainment industry as a whole, the technical, the lingo and everything else.If you are a singer, look for a local singing coach or order some vocal training from the internet. Ask around and see who you know that knows a good singer and learn from them. Get out there and do karaoke as often as you can to put your new learned techniques into practice. The more you practice the techniques you learned, the more natural it will become. Have you ever heard of the old cliché Practice makes Perfect.If you are thinking of modeling and you have the 'looks', you obviously already have a natural features of let's say: fine symectricall facial features, beautifully colored eyes, and most importantly, a true talented artist. Now you will need someone to work with you, working on technical properties of your photography as; on how to pose, to stand. Working with a good photographer will give you a new found knowledge is what will be gained by working with only him or her. You don't need some expensive 'talent', 'modeling' course. See question #:3 about NOT investing into 'traveling talent search' companies.5. I want to get my child started into acting/modelingWhat do I need to do?I would first take a few good photos of your child. Nothing too expensive just good 'cute' and/or 'funny' character photos. You may even be able to do them yourself. Get them developed into 8 x 10 photos (on the back will include BIO/RESUME/SKILLS data). Then look for local legitimate talent agents to submit them to.A good talent agent is always looking for that right face, or new child actor to discover. Remember, an agent doesn't make money until they book or find their talent work. Now when you find a talent agent that is asking for money to sign your child, WALK AWAY. They are not a true talent agent. They are just after your money and most of the time do not have very many PRODUCER RELATIONSHIPS to support their legitimacy as an agent, and sadly only out for themselves.6. How do I know I have the right headshot or how do I go about getting a good headshot for submission?I would first do some research. Go to modeling websites, there you will find great examples of what agencies are looking for, and there you will have plenty of photos to look from. Take note of many things such as lighting, direction, hair/make-up, word-robe, etc., You can always tell a good photo from a bad photo. Study the different posses and how they stand/sit, how one postures, even tilt of a models head, etc. All of these details will shine brightly if you only give them some good thought. Talk to MANY local photographers, find out what is good or bad. Here's a good 'train of thought', speak to Personality Photographer not PORTRAIT PHOTOGRAPHERS. There is a big difference. A portrait photographer will sit you down in their portrait studio with all the lights and fancy backdrops, and make you feel that you are getting something for your money. A personality photographer knows how to work with you, and your character. They will know how to work outside the studio with or without lights, more with natural light, such as the sun and reflectors. They will know how to bring out the 'you' onto the picture. This is what a talent agent is looking for, not a portrait photo.7. Do I need an Agent or Manager?Yes, and no. In the beginning you really don't need an agent or manager. You are just getting started. You are just beginning to learn your craft. As you get better at what you do as an actor/artist, and want to expand in the area of making more monetary compensation, then a good agent can start booking you for small parts. It now becomes a partnership between you and your agent/manager.There are many good and legitimate talent agents throughout the country that are always looking for good talent. You just have to search for them, and when you find one, set up an appointment to go meet them. Remember, they cant make money unless they find good talent to book or find work for.8. How do I get prepared for a casting call?Many casting calls will list the things you need to bring, such as your headshot, resume, etc. Most important, make sure that you have taken acting lessons first. Many of these acting classes will have taught you how to prepare for auditions; How to look at the camera, even how to state your name, and so on. You don't want to go into an audition with an attitude of arrogance. You definitely want to have an air of confidence, which should also project in your character as well. If you have acting lessons under your belt, and you have been practicing your skills, then you will have confidence. 9. I met someone who now promises to get me started in the industry, but is asking me for money. What should I do?Avoid that person like the plague. That kind of person is only out for one thing, and thing is to make money for him or herself. That person is not there to help you. Granted, you do need to invest in yourself and your business but make sure you are investing the right way. (See Question #3 How much do I need to invest?).10. Should I join one of those talent or modeling schools to get started in the business? Absolutely not, there is no need for you you to join. Those types of schools are only after your money. They are not there to help you in any way.See Question #3 How much should I Invest?

MORE INFO COMINg SOON!

If you have any questions or need assistance with any of the casting calls, or maybe you just have a quick question that needs answering. Feel free to send email to:castingdirector_castingcall.comNOTICE TO ALL PRODUCTION COMPANIES THAT WOULD LIKE TO POST CASTING CALLSPlease be sure to include any and all info in the BODY of your email, and be sure to include ALL of your PROD. COMPANY INFO. All information will need to be verified. Once everything is confirmed, we wil email you in regards to provide any possible PHOTO(S) and/or ADDITIONAL MARKETING MATERIALS.Thank-you for your inquiry with Casting Call Magazine.Best Regards,Edward A.PLEASE DO NOT SEND YOUR RESUMES/BIO, AND/OR PHOTOS, THEY WILL NOT BE OPENED.

MORE INFO COMINg SOON!

Home
Casting Calls
Articles
Actor Help Line
Contact Us

Casting Call Magazine

Casting Call HM-copy1 Archives Casting Calls Theatre 21-40 Theatre 41-60 Theatre 61-80 Television 21-40 Television 41-60 Television 61-80 Television 81-100 Television 101-120 Television 121-140 Misc 21-40