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Monday, March 20, 2017

Intro to acting in national commercials

Introduction to commercial auditions

Commercials are a way of making money while pursuing your acting career. There are regional commercials and national commercials. The national commercial acting industry is very competitive. National commercials can make thousands,  even tens of thousands of dollars for an actor or actress.

Even though there is competition, this does not rule out the possibility of you booking jobs. Commercial casting directors just want the actor who is right for the job. While some actors tend to look down on commercials, shooting a commercial can be a positive experience where you can network as well as make money. There are numerous film directors who started out directing commercials.

David Fincher
Gore Verbinski
Alex Proyas
Antoine Fuqua
Michael Bay
Ridley Scott
Adrian Lyne     
Guillermo Del Toro

There is a misconception that commercial acting means phony acting, big overacting. While that has been more true of regional commercials, a shift took place years ago in nationals that utilized more subtlety.

The use of subtlety in television advertising is based around the actor being him or her self. As opposed to trying to be something that you’re not.

One place you have control in the audition process is using your training as an actor by making choices: 1) who you are talking to? Substitution. Choose someone you know, someone you like, someone close to you, then the camera captures you talking like you, being relaxed and open. Trustworthy.

Another place you have control is how you feel about the product. Product sounds like a generic, impersonal term. But your car, your clothes, your phone, your shampoo, your computer, your ice cream, etc. are products. Why did you buy them? Would you recommend them to a friend? Because that simple act is what much of advertising is attempting to utilize. The advertising agency wants you to talk to your friend about why you chose their product, what you like about it. This is where you can choose a second acting technique: substituting what you are really talking about.

The product is for Tylenol, have you ever taken an over the counter pain killer? Has it helped? You can truthfully tell your friend about that. The product is food, a can of soup. Did you have ever have a can of soup when you were a kid? What was your favorite? You can talk to your friend or your sister or your mom about that. In other words, the same techniques that you learn in acting can be used in commercials. Make a strong choice regarding what you are talking about, make a strong choice about who you are talking to. Use the text as it is written.

How does it work?

You need an agent, preferably a commercial agent. The TV industry is a youth driven market. You can put yourself out there and see if you can get an agent. If people say “no,” just move forward. “No” means “not yet. When you get an agent and you start booking jobs, the other agents who said “no” will be more interested.

Ok. Say you get a commercial agent. I suggest you then find the best commercial acting coach in that town and study with them. There is technique and you can learn it.

When you attend commercial auditions, you will walk into the waiting room, and it might be crowded. Everyone’s talking. Don’t worry about that. Find the sign in sheet and sign in. Give them the information they request. You will see the “copy” (the audition scenario) and you may be able to get your own copy of it or it may be posted up in the waiting room. The casting director or their assistant will come out periodically and take in an actor or two or three. They may also explain more regarding what the commercial is about.

Resist the urge to try to be a generic version of what they’re asking you to be. Instead, be you, bring your own essence to the material.

Prep work/ Questions you can ask yourself

What is the story here?
What are the previous circumstances that lead to the first line being spoken?
What do you want?
How do you feel about this?
-Make it personal-

If there is humor in the ad, avoid going too big. Believeable is always better. If the character is written bigger, just keep it grounded in some way. A three dimensional human who thinks and acts in that specific way. Avoid all out caricature. 

Some commercials have no text. You act out the story. Maybe you are getting a box of cereal and pouring it in the bowl, adding milk and then eating it.  It’s good, it’s crunchy, it starts your day off right. Everybody wants their day to start off right.

It’s human stories. Commercials are telling stories to appeal to what humans are and what humans want.

There are improv commercial auditions. They throw out an idea they have and they want to see actors run with it.

“Your kid sister took your eye liner and drew all over the refrigerator. You’ve got to clean it up before your parents get home while trying to be the best big sister you can be. When you start cleaning up you notice that your eyeliner is still wearable and you start putting it on both you and your sister, you make her look like cleopatra. You realize that windex plus really does clean everything!”

 When the advertising agency shows up at the audition, it is the first time they will see their material come to life. They and the director may tweek and change it until it works well. They don’t know exactly what actor they need. They just need someone who can make it work, who’s real. This is what can sell a product. If you’re friend told you they just ate at a great restaurant and you should go eat there, would you consider going? If your car needs new tires and your friend says they just got  tires that are great in the rain would you consider getting the same kind of tires as your friend? We influence each other and this is what national advertising taps into.

When you book a national commercial you will get a fee, but the money really shows up in residuals. Thousands of dollars. This can really help while you pay rent and take class, in pursuit of the acting career you are after. Many actors did commercials in the beginning of their careers. Leonardo Di Caprio.  Paul Rudd. 
Keanu Reeves.

The final note I have for acting in commercials is called the button.  When the lines finish in the scene, stay in the life of the scene until they "cut."  Avoid dropping out of the scene when the text is over. Stay in. What is the character thinking or feeling?

They might even invite you to “play” with it, which means at the end, your button can actually be a word or two that you make up, continuing the life of the scene.

I started doing commercials when I was younger. Here are some of the commercials I have been in:

10 Budweiser commercials during Super Bowl
Charles Schwab
Levi’s 50 Blues
Dr. Pepper
Trident gum
Quaker Oats
Kool Aid
Tide Detergent

I think all young actors should give commercials a try. Be the authentic you and you will learn and grow. 

 Here is an actor talking about booking his first 2 commercials 
and then he shows them. 

Thursday, March 2, 2017

Great Headshots in NYC and Kingston: Juliet Lofaro

I have known and worked with Juliet for decades. She's worked with a lot of actors. She has heart and puts it into her work! I just wanted to pass this on for any actors in New York and up in Kingston who are looking for a great photographer. 

Sunday, February 12, 2017

Thursday, February 9, 2017

For the David Gray

David Gray:

now that I have your attention. It's pilot season. What the hell are doing? It's just getting going. This could be your year. This could be your time. Work your asses off. Stay focused. Study, gym, study, create, study, eat right.... download extra scenes off of just to work on. Don't hit the bars, save that money for wardrobe, classes, headshots, coaching. Have actor friends over to do play readings. There are wonderful 3/4 character plays out there by the likes of Mamet and Sheppard and John P. Shanley. that will constantly challenge you. Keep you sharp as a razor. Create a you tube channel. Create content for that channel. write a short funny short film about something that happened to you. Shoot it. Direct it. Star in it. Maybe it will suck, first time probably WILL suck. So what? Look at all you learned. Directing, writing, cinematography, not to mention character arc and development, dramatic structure...the list goes on. Hey! Maybe it DOESNT suck. Maybe you can grab thirty seconds of it for your demo reel. Maybe it goes viral on funny or die. You do know that when you are done you can submit to IMDB righ? Oh, you didn't know? Well you can. Now you have an acting, writing, and directing credit. All in a couple of weeks. So...what have you been up to the last couple of weeks? Kicking ass my friend, just kicking that ass. Never never quit. Keep banging on that door. Scavenge,, the industry's websites. Be in the know. Send your against and managers food. Pizza, cupcakes, Starbucks cards. When they say only prepare scene three...prepare ALL of them. Anticipate direction. Remember actors, the most common note you will get will be to bring the scope of your performance up or down. It will look like this "let's do it again and....ummm...just....have more fun with it!" That means you were good but a drop stiff bring the scope up. Or, "take it down a little bit" well that means scope down. Obviously we know this. So why don't we prepare for it. Prep baby! Motor it up and down so your performance is ready. Then your transition upon receiving direction will seem effortless. Send your agents and managers food, baskets, gift cards, home made cookies. Develop relationships with casting directors. Help other actors prepare for their auditions. Look good, hair, clothes, body. Pay attention in class instead of playing on your phone. You do not absorb creative juju through osmosis, you have to want it. So want it. Want it so bad that you dont lay your head on the pillow at night without being able to answer the question "What did it do to further my career today?" And then do it. Got it? Good. Oh...don't forget to send your rep food.

Tuesday, January 31, 2017

Caught in the Act Book

 Caught In The Act: Actors Acting

We have long been fascinated by actors, by men and women who can call upon the alchemy that brings to life people who exist only as words on a page.

How do actors become actors, and why? What inspires and motivates them, and what does it take to do what they do?

Through formal portraits and interviews, we searched for the secrets of 85 of these talented shape-shifters, looking for both visual and personal truths. And by suggesting to them situations and characters, in the time-honored exercise of improvisation, we provided the catalysts for the creation of a wonderful cast of instantly invented people.

In the process, we were constantly surprised, delighted, and richly entertained, lucky to be witnesses to fantasy and transformation.

With Caught in the Act: Actors Acting, his 20th book, acclaimed photographer Howard Schatz explores the magical transformation that happens when an actor takes hold of words on a page and becomes another person.

Schatz demonstrates his mastery as a director, leading 85 actors to explore an enormous range of scenarios in
one-on-one improvisation, capturing the dynamic energy of the actors in full creative flight.

In addition, Schatz made powerful and compelling portraits of each actor along with an extensive interview, focusing on the creative process. Schatz gives us a unique window into the world of stage and screen.

Caught in the Act: Actors Acting will be available everywhere October 20, 2013.

Purchase Caught in the Act

This is a book to be savored slowly. The photos, the words, the sheer joy and fascination in seeing these professionals at work are an experience not to be missed.
Book Pleasures Review

Actor Testimonials

Being photographed by Howard Schatz is like taking a wild ride only to discover you’ve lost your brakes. I highly recommend it. —Jeff Daniels

Being interviewed by Howard is an intimate and wonderful experience. Very quickly you feel comfortable and wide open. Being shot by him even more so. Ideas of one’s self drop away as you engage with him in his process of photographing what feels like one’s insides as much as the obvious outer layers. —Melissa Leo

Howard fires whimsical one-line scenarios at you and has the uncanny knack of being able to co-erce actors into a mad state of play, forgetting the camera. —Geoffrey Rush

It was such a joy to work with Howard. We bonded on so many levels, and he continues to inspire me with his art. —Ken Jeong

Never a fan of the “acting exercise”, shooting with Howard has changed my mind. I adored every moment of our session together. His ability to guide, suggest and inspire
while providing a really creative place to play around was a joy. —Jane Lynch

Howard Schatz has a deep and profound love and respect for actors and the craft of acting. He acknowledges the mystery, eccentricity and insanity of the process and allows it to happen in front of his compassionate lens.
—Michael Imperioli

Howard Schatz, Beverly J. Ornstein and Owen Edwards
Celebrity Photography/Pop Culture
Glitterati, Inc.
October 2013 release
12 x 12” hardcover 304 pages 52,000 words 85 actors featured
in more than 625 photos ISBN 978-0-9851696-9-5

This book is on used for much cheaper...