Now that the practical aspects are in place, it’s imperative that an actor know the difference between their work and their job. Their work is what we all see on film or on stage — that magical thing we call “acting.” However, few actors get to do their work because they do not do their job. An actor’s job is to be seen. Granted, an actor can be seen in movies, commercials and on the stage, but to get those high-profile opportunities, they need to be seen elsewhere first.
The best place for an actor to be seen is the audition room. In this environment, the roles are strictly defined, and the expectations are clear. The actors are there to bring their best selves to the life of the character they are playing, and the people across the table are “shopping for awesome.”
How does one get into that room, though? For an actor who knows how to be seen, it’s a lot easier than it sounds. We’ll look at some of the strategies for being seen in reverse order. The easiest way to get into the audition room is to have someone else open the door for you. For many, that means finding and employing an agent. Here are three tips:
- Invite agents: Ask people in the cast of your film/show to invite their agents, send links of your work to agencies, or invite them yourself and reserve a ticket in their name. In fact, it is beneficial to get multiple agents there. It’s their job to find talent, so you’re potentially doing them a favor as well.
- Interview them: You are entering into a business arrangement that could last decades. Get rid of the mindset that you are coming to them for help and exchange it for the understanding that you are bringing them a viable source of income. You will likely be far happier with an agent who is excited about you (regardless of the size of their office) than you will be with an agent you had to beg for.
- Help them: They don’t know you very well, so you can’t stop looking for your own work. This is where some ethics come into play. After you sign with an agent, any type of work you find that is covered under your contract with them must go through them. You can’t have a commercial agent and then book your own commercial through a friend. You must honor your business arrangements.
What do you do until you find an agent? Good news — you are an agent. There is nothing stopping you from scouring publications like The Season Overview, Backstage or Actor’s Access. Sources like these are full of auditions for any type of work an actor might want. These are typically subscription-based if you want to get the most out of them, but that is the cost of doing business. Research these publications, reach out to the casting directors you find, and be seen. You’ll have to manage your contacts and negotiate contracts on your own, but many actors get their start this way.
Another way to be seen is to place yourself in a non-performance role within a production. Hang lights at a theatre, be a PA for a film shoot, or assist in a casting office — any role that exposes you to the field can help. Position yourself to be in the same environment as the people who make the decisions about who’s on stage or in front of the camera. Interacting with them daily, where they see your work ethic, can make auditions a bit easier. When they see you walk into the audition room, they aren’t a panel of judges — they are co-workers, mentors and friends.
There is often an image in many people’s heads of the starving actor waiting tables. It’s cliché, but it’s also common. Many of these actors are starving artistically because they are spending 60 to 70 hours a week being seen by the wrong people. If they could focus their efforts and hone in on a select few, their chances of booking work may increase dramatically. So, just who are these people?
- The agent: They are experts at getting around gatekeepers in the industry because they are, essentially, gatekeepers as well. They gain a reputation for having quality clients, so showing them your quality is essential. They can be found in workshops or panels. Some allow for online submissions, but the best place for them to meet you is backstage after they just watched your show.
- The casting director: They are the second line of defense between you and your role. They are professional shoppers, hired by a production to find ten people who are exactly right for a specific role. Having one on your side is invaluable. They love discovering talent. You may find them in workshops and panels (or even better, get a job in a casting office).
- Directors: Who needs to slog through agents or casting directors when you can simply become good friends with people who are making the movie or directing the play? One thing to remember is this: if you are in the process of making theatre or film, it is likely that everyone around you is a potential director. Just be kind. Always. People will remember you (especially because kindness is in such short supply). When you do get to work with a director, it’s important to keep in touch. Send them invites and updates about your work, and go see their work. These relationships can last a lifetime.
