Workshops
Workshops give actors a chance to meet and perform for casting directors and other
industry professionals, usually one-on-one. Most workshops allow you to prepare a
scene in advance. Workshops also include a group Q&A.
Workshops are controversial among actors for many reasons.
The Controversy: Some people think that workshops are a scam and others think
they're amazing. For me, it depends on which casting director you're meeting. All
workshops have to say they're for "educational purposes only and not a guarantee
of employment."
Pros & Cons: When a casting director does a workshop they usually get a
commission. They can walk away with roughly $200-$500 from doing a single
workshop (2016). It's a lot of money for one night of work, and they have no
obligation to bring anyone in for auditions. The only requirement for casting
directors is that they work for a legitimate casting office. On the other hand, some
casting directors will actually consider calling you in for an audition; that's why
some believe workshops are beneficial.
Getting called in for an audition depends on 1) What project they're casting; 2) If
you're right for a part; and 3) If they remember and like you. Some might call you in
to audition years after they met you at a workshop. Sometimes workshops can be a
good way to get your foot in the door. Ask other people or research online which
casting directors frequently audition actors they met at workshops.
Workshop Etiquette: Have a good attitude no matter what. Sometimes a casting
director might say something that seems rude because they're used to giving people
directions. You cannot let this bother you because the casting director will sense
your irritation. Grab a fork because it's time to eat a BIG SLICE of humble pie! When
you're there, only focus on what you can do to better your performance. Sometimes
casting directors will give you direction to see how well you listen and apply it. Go
with it and trust them even if the direction seems weird. They know what they're
looking for better than you do. This applies to the audition as well.
If you're still interested in taking workshops, here's the best way to prepare for
them...
Which Workshops to Take: In most casting offices, the hierarchy starts with
Casting Director at the top, followed by Casting Associate, then Casting Assistant.
The higher up the casting directo ladder, the more power they have to bring you in for an audition. It's rare that the main casting director does workshops but if they do, those are usually the best ones because they have the most control over who auditions.
Sometimes casting assistants are given some power to call in actors but not nearly
as much power as the casting associate or the main casting director.
Rather than attending one workshop for multiple casting directors, it's better to
attend multiple workshops (about 3) for the same casting director. Your chances of
them calling you in for an audition increases as they become more familiar with you.
If you choose this route, generally it's best to pick casting directors of procedural TV
shows. Procedural TV shows require many new actors per episode while most TV
shows only require a few, if any. Some procedural TV shows are: Criminal Minds,
NCIS, Days of Our Lives, etc.
Be Union or Be Prepared: Don't waste your time or money going to workshops if
you're non-union and not willing or able to become union.
On union projects, casting directors cannot cast you for the part unless you're SAGAFTRA
or can become SAG-AFTRA. Most casting directors who do workshops only work on union projects.
If they like you but can't use you (because you're non-union or SAG-Eligible (SAG-E) and can't pay the fee) they'll move on to the next actor because there are plenty of actors in the union. It is extremely rare that they will bring you in knowing you're non-union or SAG-E. Here's why... if you put you're SAG-E on your resume, get cast, but you don't have the money to pay the union fee, the production company has to pay a large fee to the union.
If you're serious about getting cast in roles for major projects, you'll need to figure out a way to pay the fee to the union. See "Becoming Union".
Choose the Right Scene: This goes hand-in-hand with your "character type." Once you know your character type, pick a scene that matches (or is similar to) that type.
Make sure the scene you pick is not too iconic. If you pick a famous scene, casting directors will have a hard time seeing YOU in the part vs. the actor who played that part. Pick a small, less notable role, but one that is still large enough to show off your talent. One to five lines is not sufficient to show the casting director your potential unless you're going for co-star roles only. You want the length of the scene to be about two to three pages, which is long enough to show your talent but doesn't take up too much time. Some workshops will have a time limit. For most cases, gueststarring
roles are ideal.
If you attend many workshops, I recommend picking two scenes: one drama, one comedy. This way, you can tailor your scene to the casting director's specific genre.
If you do a great dramatic scene, but they're only casting for a sitcom, they're not likely to see you as a fit. You don't have to do a scene from the show they're casting (unless specified otherwise) but you do need to match the genre. Remember, you're paying to be there, so show them something they can work with.
Be Off-Book: Sides are a small portion of the script or made up material to audition actors for the part. Being "off-book" means to have your scene, lines, and all relevant stage directions memorized. Getting stuck or constantly looking down at your sides makes you look inexperienced.
Even if you have your sides completely memorized, casting directors urge actors to have them in their hands anyway. They are a safety net in the rare case you forget a line but holding them doesn't mean you must look down at them. The sides are there for emergencies.
I cannot tell you how many casting directors have told me that... "An actor came in wanting to prove they were off-book, didn't bring their sides, and forgot a line. It was awkward."
Casting Directors dread this situation, and it happens to even the best of actors.
Memorization isn't a skill you need to prove. Casting directors are more interested in seeing what you bring to the role, and being off-book gives you more freedom to explore the character.
Know the Show: A multi-cam sit-com requires a slightly different acting style than a single camera comedy. A single camera comedy requires a much different style than a single camera drama. I recommend watching all types of shows and taking mental notes of the different acting styles. Casting directors expect you know the difference,
to be familiar with their show, and to come in prepared with a scene that matches
the style of their projects.
Example: The age range for someone who can pass as a teenager on The CW
Television Network is very different than someone who can pass as a teenager on
Nickelodeon. Most actors portraying teenagers on The CW are actually closer to 30
years old, while actors on Nickelodeon are closer to the actual age they're
portraying. You wouldn't know this unless you've researched or watched those
shows.
If you don't already watch the show, research what they're casting by watching
recent episodes, clips, trailers, and reading the plot's outline.
If it's a pilot (first episode) or movie, look up the studio, what channel it will be on,
and what the writers and producers have created in the past. Become familiar with
their previous projects to see what types of actors they cast.
If you come in armed with this knowledge, your chances of auditioning with them
increase.
Take Notes: At the beginning of most workshops, you're given a Q&A with the
casting director. This is your chance to ask important questions.
Example: Is there anything specific that you like actors to do or not to do when they
come in your office? Most will cover basic things like early arrival, allowing plenty of
time for parking, and doing your research on their projects...all of which you should
already be doing.
The above question is important to ask because every once in a while you'll get a
casting director who says, "Don't wear a blue top in my office because we have a
blue background and you'll blend in." Another real life example is "Don't wear
perfume to your audition because I see many people every day and it will give me a
headache." True story.
Some casting directors even have a specific format they like to follow for auditions.
If you listen to how they like things to go and follow their instructions, they will
appreciate your professionalism.
In the Q&A, make sure you ask how they like to keep in contact. Some do not like to
keep in contact at all, but many do, so be ready to write down their specific
instructions. Most of them prefer you to use their specific email, while others prefer
contact via Facebook or Twitter. Some casting directors only like to be contacted for
updates while others like self-submissions. You'll want to keep track of who prefers
which kind of contact.
About 66% of casting directors will give you their email address, while the rest
might give you their union's physical address, The Casting Society of America (CSA).
CSA throws all mail away that's intended for a specific casting director and they do
not forward mail to anyone... so save your postage!
Casting directors give actors this address as a way of saying, "I have your headshot
and resume. If I'm interested in contacting you, I will. Please don't contact me." It's
kind of like a rejection hotline, but in a nicer way.
