TWENTY TIPS FOR STAND-OUT SELF TAPES
Aim to be as technically polished as your budget and planning will allow - flattering and shadow-reducing lights, neutral background that takes up the entire frame, framing per casting’s instructions - almost always waist up with very little head room, sound, an in-person reader, character specific attire, clear eyeline(s), etc.
Bring your authentic self to your tapes and callbacks - not some version of some actor you love or think we want to see. Use the parts of you and your own life experience that work for a role and momentarily mute the rest.
Always ask and answer: what is happening the moment we discover you and what’s our last impression of you when the scene is done? Create a physical life for the character that precedes the first line and extends slightly after the last one. (Pre-beats and post-beats.) Let your tapes be active start to finish.
Within the scene, tell a story. Stories have beginnings, middles, and ends. This happens, then that, then this. And where is the climax? A flat read that goes nowhere is a missed opportunity.
Always answer the three big “W” questions for your character in any scene: What do I want (objective), what is in my way (obstacle), and what am I doing (my action) to get around or through that obstacle to get what I want?
Look for the beat shifts and discoveries in every scene. Some scenes have obvious ones. Some do not. Consider creating beats for variety if need be. Big beat shifts in a scene affect us, and we need to see those registering - plus the recovery or moving on from it - even if just for a second.
Have an opinion about what you’re saying and to whom you’re saying it. If your character doesn’t care, doesn’t have any relationship to the receiver, doesn’t want to be there, isn’t doing anything but talking, a tape will seem dead, and we won’t care alongside you.
Be clear on the relationship you have to whomever is on the receiving end of your scene. If the script, character description, or stage directions aren’t helpful, decide for yourself who they are and what they mean to you. What’s the power dynamic? Equals, friends, enemies, exes, boss/employee, teacher/student? Do you want to be here talking with them now or anywhere but here?
If asked to submit a contrasting take, truly change your active verbs. The objective is usually written in or easily assumed as well as your obstacles. What you choose to DO the other person with the words given - to flirt, to bully, to conspire, to humiliate, etc. - can quickly create a brand new take on the scene and show impressive range and insight into not only your work but your grasp on human behavior. A new active verb may also change your pace, your volume, your physicality. Try it!
Pause judiciously. Scenes with a great amount of air can seem tedious and indulgent. (“Pick up the pace” is one of the most frequent notes given to an actor.)
Act on the line whenever possible and refrain from showing us your thinking and plotting in the gaps/in pauses.
Avoid bringing your hands and fingers into the shot/up to your face excessively unless necessary (scripted) and organic. Let your eyes (the windows to your soul) and face be the star. Compress physicality.
Always aim for an in-the-room reader if possible. Direct your reader into the pace and volume and stakes you want. It’s your audition, not theirs.
Avoid significant ad-libbing/improv unless given permission in the audition invitation, particularly for projects in which the writer is also the director.
Follow taping instructions exactly, and label files in the manner requested. Please.
Use props very judiciously and only if they are germane to the scene and essential. Overuse of props can become cheesy and make a scene about a prop instead of you/your action.
In scenes that involve injury, pain, death, or similar highly-physical components, lean toward focusing on what that experience is doing to you emotionally and internally - as well as your breath and physicality - but err on the side of “less is more” in terms of over blocking, excessive movement, flailing, falling down, etc. All of that can happen in rehearsal and on set. An audition should tell us that you understand how to convey what the scene is doing to you and what you’re doing back in return more than you being a good stunt person.
Typical tv/film volume is “across a table”/”conversational volume.” Unless the stakes are extremely high and there is a reason for volume to spike dramatically, avoid very loud and pushed choices. Similarly, ask yourself if this dialogue is happening in private and in a small space or in public and in earshot of others.
Avoid over-producing/self-editing audition tapes. Tapes that have music added, crossfades, mood lighting, set decoration, several props, etc. send up some red flags. Those areas of storytelling belong to other craftsfolk on a project. An actor’s job in a self-tape is to tell the story sans trappings and distractions. Fight the urge to make a mini-movie.
Remember that a self-taped audition is NOT the final cut/premiere. Anyone watching your tape is quite aware that we know more about the project than you do during the casting phase and, therefore, don’t expect perfection. Steer yourself from thinking your choices are “right” or “wrong” and give yourself the freedom to be inventive, instinctual, and personal!
