Acting

I loved Annie.

It's one of the all-time best, Suzanne Bronson! No remake comes close to comparing.

Thank you Aaron.

You are very welcome Suzanne. If you have any suggestions on mistakes actors make at auditions, please share them here and on my channel. This way we can learn from you as well.

Thank you for sharing this Pat Alexander

The only difference between celebrities before social media and after is that before then, everything they did was mostly stage managed.

Director chiming in here: Reading off a screen is noticeable and can detract from your performance. Instead, share a clip from your demo reel or a short film that highlights your acting skills. If that’s not what they’re looking for or you can’t provide it, it might be best to move on. Wishing you all the best Kris Keppeler !

Thanks, Stephen. This was a self tape so couldn't do anything but spend an hour memorizing and trying to deliver it as correct as possible or using the script. I find quick memorization and trying to get it right exhausting and also detracts from my performance because I'm thinking about getting all the words right.

Hi Kris. There's nothing wrong with reading the sides. Memorization is not expected at an audition if they are giving you the material. What I do for self tape, is prop the sides up next to the camera. I.e. If I'm recording on my camera then I put the sides on my tablet next to the camera. I must disagree with Steven. there is nothing wrong with looking at the sides at an audition. In an in person audition, you're holding the sides and you can look at them. Better to do that and deliver a good performance than to get flustered over trying to remember lines. Any Casting director will tell you that.

Thanks so much, Suzanne!

You're welcome

yes, thank you, I agree.

Awesome

On this topic guess what: there's an education class coming up :

Directors: How To Work With Actors From Audition to Post Production

https://www.stage32.com/education/products/4-part-class-directors-how-to...

As an actor, the thing that I find important is when the director gives me space to perform the scene initially without trying to control everything from the start. That can make the actor feel tense, and then the director will not be able to get the most out of the actor. Let the actor give the scene a go, then give notes, direction etc. Also, I always feel at ease when the director is not tense, we know how tight the schedules are, but going into a room of tension never helps, it just keeps the tension alive.

@Emma Thanks for your comments, Emma. They are very helpful and insightful.

Suzanne Bronson Thanks for the information on the class. It looks very interesting.

Hi all, Thank you Mark W. Travis for asking this question. Firstly, I agree with Emma Louise Burdett. What she says makes absolut sense. Also, I have been priviliged to work with high profile academy award winning directors and what I noticed is that (A) They gave me creative freedom. An Award winning director told me he always knows when an actor needs direction and also when they don't need direction. He leaves the actors alone most of the time. (B) When he gives direction it is short, precise and to the point, no waffling! And no confusing notes. (C) When I had to do a dying scene, the director came and explained everything and he discussed it with me. He also gave me a visual example, which was very clear. A really great director collaborates with the actor. So I felt sure I knew what to do. That is the difference between a good director and a great director.

That is incredible, Glenn! I once collaborated with an actor who had a unique technique for memorizing lines. He transformed his dialogue into a rap, which helped him remember the lines and added a fun rhythm to rehearsals. It was fascinating to see how he creatively approached his craft, turning a mundane task into an engaging experience. His ability to blend music with acting showcased his talent and dedication.

Thank you, Maurice! Yes, we went deep into this. I did miss one word in the script, but that happens. Everything else was spot on. I’ll be doing more of these. I think the next one will be from Chicago PD. I’ll pick the scene tonight, and then throughout the week, I’ll listen to it using Speechify, which is a great app for learning lines until they become an earworm through repetition. That’s what I did for this scene. Of course, I won’t tackle longer scripts until I become more proficient with these. No matter how good we are, there is always room for improvement. Compared to my last one this one was better I feel.

Thanks, Paul! That’s an amazing approach—turning lines into a rap must have made rehearsals a lot more fun and memorable. I love hearing about creative techniques like that; it’s inspiring how people find what works best for them. For me, using Speechify and listening to the script repeatedly has been the game-changer, turning memorization into a natural process. It’s all about finding that rhythm, whether through music or repetition, to make it stick.

You're welcome, Glenn Axelrod.

awesome congratulations

That’s great to know Maureen Mahon, and very interesting!

I fully agree with Mario Leone; but I think there is one more point he left out because it's so obvious, still it must be mentioned, 'know your material!!'

I’m loving all the great advice here - thank you everyone!

That is very true Rutger Oosterhoff lol

I agree Amanda Toney lots of great and helpful advice :D

Great read - thanks for posting!

I have nice nollywood movie’s story lines but I don’t know how to work on them

this is great thank you for posting.

Wow great points. Stanley Kubrick's comment on not working with fearful actors hit home. I've seen it when he's working, he was so engrossed with the filming, it wasn''t a question in his mind that he hired a fearful actor. That would have disrupted his whole sphere on set. It takes a special kind of individual/actor to be fearless.

Randall Paul. I think that quote was from Lee Daniels (Precious, Empire) and not Stanley Kubrick. Regardless, it's a great quote. From my experience fear is a constant aspect of every actors world. The question is how do we recognize it and (a choice here) either use it to enhance the performance of the character (remember, the characters are always dealing with fears) or how to we work with the actor to navigate around the fear?

I highly recommend that directors learn the fine and delicate art of "Directing the Characters, and Not the Actor" which will almost automatically bypass whatever fears the actor may have simply because the emotional state, needs, desires and fears of the character take over.

Just a thought.

You're welcome, Aaron Marcus. It was definitely a lesson learned.

Excellent advice, William Joseph Hill!

Great points, William. In the last Union negotiation, one of the key issues that they resolved was not allowing companies to scan Union extras, pay them a full-day fee (less than $200) and have their image to use forever. As I mentioned in the video, sometimes it is hard but absolutely necessary to say no. Thank you so much for your insights.

Aaron Marcus

This is really good about the five powerful reasons. I can relate—I’ve turned down some roles or auditions myself, and that goes beyond just acting; it applies to any profession. Through Backstage, I’ve had some unsolicited opportunities to audition, but since I don’t live in the city, they often wanted me to travel for very little or no pay. With my full-time work schedule, that’s just not feasible, as acting is more of a side gig for me. So, this really resonates—thanks for sharing!

Thank you so much for your thoughts, Glenn. You are right on target. This applies to any profession. I have accepted bookings where I made very little money, but I needed the experience and contacts, so they turned out great for me. But, everyone needs to set their own limits on what they can and can't accept.

Thank you so much again for your input.