Tag Archives: actorlife

The Competitive Edge: To Understand Luck is to Eliminate Stress

Written by Terry Berland for the Networker

You’ve done all the things you can to have command and control over your career. You are a solid actor, you have a well-developed resume, you are comfortable auditioning and you know how to be in a room. (see blog What Hamilton and Commercials Have In Common). Even after doing all you can do to take control, there is one element you have no control over that can work for or against you. That is the element of luck.
After you do everything to create your own luck, let’s look at where this mystical area comes into play. Bringing these areas to light can eliminate the stress of fighting against something you really have no control over.


LUCK COMES INTO PLAY ON THREE LEVELS:
Level 1.
The casting director’s choice of who to audition.
Level 2.
Whom the creative team decides to present as final choices to the client.
Level 3.
Whom the client selects.
To add to the complexity, let me remind you that you are being picked either as an individual or as part of an ensemble.


SIX AREAS WHERE LUCK CAN COME INTO PLAY:
1. General Physical Look
Some examples of physical looks can be referred to as slightly off-beat, pretty, conservative or intellectual.
From the start of the process, after your agent submits you based on a breakdown, the casting director has to begin making choices.  Based on their personal opinion, a casting director chooses the actors most suitable for the part to audition. The first “sweep” typically consists of a broad array of choices. Then they have to start shaping the audition so it is well-rounded with a variety of talent. That means eliminating some actors. You could randomly be in or out. However, someone who was originally eliminated can be reconsidered.
2. Hair Color
Commercially, unless the character calls for a particular hair color, all hair colors are considered in the first round.
An example of luck coming into play is when the casting director looks at the audition they are shaping up and if the audition is leaning towards everyone having dark hair, then they have to vary the look and pull out some talent with dark hair and replace them with light or red hair. The second round of luck comes in at the callback stage. Those actors who were called back go through another subjective selection process by the creative team deciding which talent they will present to the client for the final look of the spot. The third chance for luck comes with client approval. Many times the client does not chose the first choice and they go with the second or third choice because they subjectively feel this person or combination of people will make a better spot.
The same layers of luck come into play with the remaining examples.
3. Ethnicity
The first character breakdown could call for all ethnicities to be considered. Mathematically there are only a certain amount of time slots in a day and casting has to choose this person over that person to appoint to the time slots allotted.
4. Personality traits
In addition to your look, each and every person has an essence that we might call a personality trait. This element also has to fit the character or the ensemble being put together. Some personality traits can be characterized as funny, serious, or intellectual.
5. Being in the right place at the right time 
Recently I was casting a short film. I had just put the breakdown out and was looking over my submission choices. An actor was passing by my office on his way to another casting director’s office, I looked up as we said our “good mornings” and there he was, the very person I was searching for. He looked perfect, had the right essence and acting ability. If he hadn’t passed my office at that moment, I know in this case, I would not have thought of him for this role. I presented him to my client and he booked the film.
6. Shoot dates
The last element of luck would be shoot dates. As the expression goes “as luck may have it” or “when it rains it pours”, you might be booked for something else on the shoot dates. Then there is the other scenario, “book a plane ticket/book a job”. All actors and casting directors seem to say the same thing. Plan a vacation or purchase a plane ticket and that’s when the job comes in.
Knowing we can’t beat luck, the only thing we can do is recognize it and smile at it rather than stress over it.

Power of Improv

The Power Of Improv

Written by Terry Berland for The Networker

For many years I went to improv shows to be entertained, laugh, and discover the work of clever, quick-thinking actors. I have always said, improv is important—it loosens you up, gets you ready to think fast on your feet, and strips away the self-censorship that blocks creativity.

There is More to Improv Than Being Funny
Improv is important to the art of acting itself. Improv enables you to open up the door to your creative power and is a conduit to better dramatic acting.

Improv Opens the Door to Your Creative Powers
I don’t know how someone can be a good actor without having taken improv classes. I believe improv is not only a great complement to an actor’s training, but essential to bringing an actor deeper into their source of creativity by unlocking blockages.

To explain further, I went directly to the source of a master improv actor/teacher, Donovan Scott. Scotty’s improv teaching is very special in that it is designed to relate directly to the individual actor’s acting process. This helps with four elements you need for a good commercial performance.

Nuanced Performances
Scotty: “Over the years, improvisation has gone from a curiosity as an art form, to an essential tool for the actor. It has gradually formed the basis for our emerging acting standard on the screen. From the broad physical acting style of the silent film era, we have evolved to the super close-up and the nuanced techniques of realistic acting.”

The simplest auditions need nuances. The commercial on camera audition space you are working in is film-like in that it is a close shot, which calls for subtle expressions and the ability to create a life around what is called for. For example, if you are told you are a person reaching for a glass of water, for a good performance you have to create who you are, why you want this water and how you feel after you take the satisfying drink. You must be able to create in a very tight shot in short amount of time.

Stay Ahead of Your Audience
Scotty: “Like in all art forms, we must stay ahead of our audience in order to keep them interested and involved. Improv takes away technique and demands a more spontaneous resolve.”

Knowing how to stay ahead of your audience will give you the confidence to make and stick to strong choices. Once you can do this, you will not walk into an audition room wondering what the powers-that-be want. Not being in your head will allow you to create from your gut and your sacred creative space. Which brings me to another point.

How Can Improv Complement Your Acting?
Scotty: “In the ‘acting class world’, techniques of choice, delve into gut wrenching realistic performances, by digging into the depths of the actor to reveal the truth. Improv, on the lighter side, has much of the same result. It’s about freedom, spontaneity, and the use of surrounding elements to enhance the power of the actor’s performance.”

In any audition or performance you can’t hold on tightly to “the process”. You need to find your freedom, individuality and spontaneity in your performance. The key element that improv adds to your acting skills lies in your ability to experience freedom and spontaneity which you will find through experienced guided improv exercises.

Ability to Change Fast
Scotty: “As actors we often make decisions and blindly stick to them no matter what is going on around us. In Improv we build an awareness of what is happening to us at that moment, and allow that to effect our expressions, emotions, and choices to move forward. With the power of Improv skills, the answers are quicker to respond to, easier to understand, and more connected organically. Acting choices are more instinctive to the individual actor; a response, rather than a calculation, instantaneous rather than thought provoked. Improv asks us to know ourselves, trust our instincts, and commit to our choices. It has become the most powerful tool of today’s actor. It celebrates our truth.”

You have to walk into the audition room with confidence in your specific choices, yet able to change in any direction given to you. After you have gone through strenuous improv exercises in a class, a change in direction given to you at an audition or on set will be a piece of cake. When you get good at improv you will have an attractive, fearless “bring it on” attitude.


Donovan Scott
After studying at the American Conservatory theatre in San Francisco, Donovan became the artistic director of Comedia Del Arte’ Troup. He toured the east coast directing, writing, and performing. He has performed at the Old Globe in San Diego, has worked in films with Steven Spielberg on 1941, costarred in Popeye with Robert Altman, Starred in Savannah Smiles, Zorro the Gay Blade, Sheena Queen of the Jungle, Police Academy 1. He has also starred or guest starred in over 50 Television shows. He was nominated for a Silver Bear award in Germany for one of his TV series. He also teaches Improvisation to enhance audition comedy and dramatic performances for Terry Berland’s workshops, and was voted one of the top three Improvisation teachers in the Los Angeles area for three years in a row. See IMDB profile for complete information.

What do Hamilton and commercials have in common?

Written for the Networker by Terry Berland

“The Room Where It Happens.” Everyone wants to be in the room where it happens, and in the acting world, it’s the call back room—the room with the producers.


[BURR AND COMPANY]
The room where it happened
The room where it happened
The room where it happened

[BURR]
No one really knows how the
Parties get to yesssss
The pieces that are sacrificed in
Ev’ry game of chesssss


Here are seven pointers for being in the (commercial call-back) Room Where It Happens.

Walk in with an open feeling.

If the producers don’t pay attention to you right away, stay open, patiently waiting.

Feel empowered.

Assume you are the answer to their search. That will enable you to feel being part of that room.

Go with the flow of whatever happens in the room.


If the production team is friendly and outgoing, then respond as such. If they are grouchy and irritated know you are not the problem and stay open and vulnerable.

Don’t be affected by negativity in the room.


If they are eating, on the phone or on their computer do your thing and stay true to your choices. Note their rudeness to yourself, but stay strong and connected to your empowerment.

Don’t get thrown by a large pile of size cards of talent already seen.

Remember there are lots of age ranges and ethnicity of people being considered. You are usually up against only 30 people of your same type. You are an equal chance to everyone else in that pile of other actors.

Don’t be concerned if you are the first person being auditioned or the last person auditioned.


Don’t start figuring out your changes because of the time of day you are auditioned. I have seen the first person get booked and the last person booked.

Don’t wish the creative team good luck with the project as you leave the room.


If you leave the room wishing the creative team good luck with the project, it is a sign of self-dismissal and an expectation of not being considered.

Beware the Spokesperson Read

Written for The Networker by Terry Berland

For every part you audition for, you have to make choices to give personality to the character. It is a known fact that you can’t be “neutral” and give a good audition.

There are all kinds of conundrums associated with what choice to make. “Am I being too big, too small, too this or too that?” Bottom line is you have to make an intelligent choice in the venue you are working on, based on all your education and training.

In commercials, there are many hints you can find in the copy regarding each character. In my Acting in Commercials workshops, I particularly teach how to apply backstories to your discoveries. Some information comes from the copy itself revealing the attitude of the character and relationships, some of which are obvious and some are not.

The big trap is the spokesperson copy.
Definition of spokesperson: a person who speaks for another or for a group. Many times the character is labeled a spokesperson, but they would not really want you to deliver this copy according to the definition of a spokesperson. Once you speak as a spokesperson, and speak for someone else or for a group, you will strip yourself of any possibility of a personality.

How do you make a choice regarding spokesperson copy?
The answer is, you have to know how this spot is branding the company. Here are some examples of products and typical branding.

Bank. They will want their image to be knowledgeable, trustworthy, friendly and approachable.
READ: That would mean you should have a personality that is real, knowledgeable, sincere, and genuine.

Car. You’re most likely smart, “with it,” and knowing, if you own this car.
READ: A particular person who is a winner, and knowing, who feels satisfied and comfortable with themselves.

Medication. They want someone who is well and healthy speaking about the medication, not someone who is sick.
READ: Healthy, positive, understanding, and compassionate. Definitely a inspiration to the person who is having the problem.

Cell phone company. Someone in the know.
READ: Be someone in the know, “with-it,” who makes smart choices.

So instead of choosing to be a presenter, even if the copy says “Spokesperson,” understand the end result of the branding of the spot and add the particular elements to the personality of your read.

THE MOST POWERFUL WEAPON YOU HAVE GOING FOR YOU

By Terry Berland for The Networker

When I am a guest at an informational event for actors, the questions are inevitably geared towards all kinds of do’s-and-don’t’s regarding how talent can ultimately get auditions, excel in their career, and be likable to casting directors—some of which include the questions listed below.

Popular Questions and Do’s and Don’t’s
What makes up a good, professional headshot?
What does a casting director look for on a resume?
What makes up a good reel?
Don’t be late for your audition.
Let casting know if you are not showing up.
Don’t wear cologne or perfume.
Read the instructions.
Be Prepared.
What to expect at a call back?
Is my type called in a lot?
Can I get work with my accent?
What’s the worst thing I can do?
What’s the best thing I can do?

What Is The Strongest Weapon You Have To Succeed?
Yes, all the answers to the above questions add to your knowledge, and knowledge is power. After all, I wrote the book Breaking Into Commercials for that very reason. But the most important element and most powerful tool for getting ahead and impressing a casting director, director, or producer is the bottom line of BE A GOOD ACTOR. Like cream rising to the top, good acting quietly yells out “I’m here,” and opens up possibilities of attracting bookings, auditions, casting directors, producers, and directors to the actor. Your most powerful weapon is being a good actor. What makes a good actor?
A good actor . . .

  • Loves to work out every week in his/her acting class and go deeper and deeper, because it feels rewarding.
  • Makes their way into local shows, readings, hangs out with other good actors, and appreciates and supports their colleagues’ good work.
  • Feels good about their auditions and moves easier through the inevitable frustrations of their career.
  • Stands out. Even if a commercial casting director is not in the actual audition and is watching the auditions on a monitor in-between other casting tasks, they look up and take notice of the good actor’s audition.

. . . and . . .

  • A good commercial actor will be recognized by theatrical casting directors.
  • The good actor’s audition will be pointed out at the end of the day and shown to the casting director by the session director.

Will the good actor always get the parts they want or be the richest person on the block? The answer is “no.” But if you are going to be in the acting profession, being a good actor is what you want to strive for and will give you the most personal satisfaction, with the chance to attract opportunities and succeed to your highest potential. Unfortunately there are no guarantees in the acting profession, but if you are going to act, put most of your efforts into being the best that you can be—be the good actor.

7 Steps to Make A Difference In Your Career

Written for the Networker, January 1, 2017

There are certain things I don’t write about because I think the information is too elementary, but throughout the year some recurring mistakes jolted me into thinking I should relay this information to you, so I decided to start out the year more cut-and-dry, relaying seven steps that can make a positive difference in your acting career.

1. Include a photo and resume in your e-mail communications.

When you are connecting with someone, whether it be a thank you, a question, or any kind of communication, include a photo, resume, or a link to your website. The most seamless way to do this is to have a website and include the link to your website after your name.

A casting director is only human and does not always remember exactly who you are. It can take up three times to remember.

2. Make your handwriting legible in your written communications.

I appreciate the time, thought, and business organizational skills it takes to write a thank you card. Many times I receive these cards and I cannot understand the talent’s signature. I don’t know who the heck I got the thank you from. Not a good situation.

3. Include a photo business card in your handwritten notes.

It’s best to also include a little business card with your photo and contact info on it. Again, it is a visual identification of who you are. We can’t have too many subtle reminders.

4. Send postcards to touch base.

Don’t think a picture post card sent by snail mail is an obsolete way of communicating. It actually stands out more now, with everyone doing their communications online. It’s a true indication that you are taking your career seriously as a business—very impressive. Send them out about four times a year. The repetition is a great tool to help us remember.

5. When you are submitting yourself, confirm quickly online.

Many, many hours after we post appointments online, we have to call about 50% of the talent to ask if they are confirmed. Please note, we need confirms because if you cannot make the casting call, we have to replace you. Being easy to work with adds to your reputation and success as an actor.

6. Answer your voicemail messages.

When I cast a film, which I am doing as I write this, I find I have to communicate details via e-mail instead of through the breakdown service. My office, therefore, has to call you to ask for your e-mail address. We find there are some people we have to call three times before they finally answer us—very frustrating.  It’s only during the callback process that we bother chasing you. That phone call is unexpected. Expect the unexpected, and respond.

7. Include your e-mail address on your resume.

It’s better to have several ways of being reached. It’s quicker for us to send you an e-mail than to call. And for those who don’t check their voicemails, it will eliminate the possibility of getting a job.

Here’s to a great start to 2017.

tag actorlife, actors, auditions, casting director

FIVE REASONS YOU MAY NOT BOOK THE JOB

A really good audition makes the casting director, the producer, and the director really happy. You gave a good audition, you got put on avail . . . and then you didn’t get booked. Why?
I can assure you it is nothing that you did wrong. So if it’s nothing you did wrong, what could it be?
The callback is the time the spot takes shape. Many variables come into play.
Here Are Five Reasons Why You Might Not Get Booked
1. The Spot Has A Certain Look
All variations and combinations of looks are considered. During the callback selection process, as the spot takes shape, your look might not quite fit in. I have seen a group of six people chosen and upon final consideration, the creative team noticed everyone was brunette. One person was randomly taken out of the group and replaced with a person with lighter hair. I remember feeling an “ouch” for the person taken out of the group.
image2
You might look too upscale, not upscale enough, too pretty, not pretty enough, etc. You can’t change how the creatives decide how their spot should look.
2. The Spot Has A Certain Feel
As the spot comes alive at the callback, the creative team sees more clearly what is going to work for the feel they want. The essence of your personality might not work. You might feel too humorous, not humorous enough, too serious, not serous enough, or too intellectual. I’ve even seen an actor with a wonderful performance lose the job during final consideration because one person on the creative team felt he did not feel “trustworthy” enough. The “feel” of who you are is your essence, and you can’t change your essence. You have no control over the feel of a spot.
3. Character Relationships In a Spot
When a group is being put together, you might not gel well with the other person they definitely want. You may gel well, but someone else gels better or differently.
image3
Chemistry comes into play during mixing and matching of people being considered. Sometimes you will actually be asked to stay to be mixed and matched. If you are not asked to stay, the creative team actually mixes and matches by shuffling around the size cards. They discuss the different feel of people together. You can’t change chemistry between people.
4. Change In Direction
There is always the chance that the direction of the spot, or your particular character is changed. You have no control over the ad agency or director making these changes.
5. Luck Of The Draw
Everyone is unique. Put two really good actor’s performances toe to toe in front of the creatives for them to choose, and they can only choose one.
All you can do is give your best performance, be knowledgeable about how the system works and feel fortunate you got to audition, got the call back and most importantly know that even though you didn’t get booked, you pleased everyone. Really know you will be remembered for the next opportunity.

Be Brave On Stage

Embracing Surprises Will Make You A Better Actor.
Have You Earned Your Badge of Courage?

Written by Terry Berland for the Networker

You can certainly apply the old adage, “The only constant is change,” to your everyday acting career. Change can cause surprise, upset, and agitation, or it can stimulate you and give you good “war stories.”

If you are more comfortable with predictability, then acting is probably not for you. You can’t take a class, course, or workshop in how to deal with surprise. Recently, I was giving direction to a bunch of actors who were waiting to go into my casting call back session. Since the direction had changed from when the job first started, I gave my apologies. The seasoned actors I was speaking to had a good laugh and they said, “we love surprises.” It brought up an interesting conversation about actors loving the element of surprise.

These seasoned actors, well into their sixties, found the element of surprise a positive and not a negative. With glee, they were telling me many stories of surprises. They wore these stories as badges of courage. If you like surprises it will certainly make your acting life easier.

IT’S A GAME, PLAY IT

One actor, Vaughn Green, said “Roll with the surprise. It’s grown-ups playing kid’s games.” Take a look and notice if acting is a heavy experience and not fun, and if it fills you with angst or if the unpredictability is exciting.

KEEP YOUR ADRENALINE ROLLING

Dennis Leski said surprises keep the adrenalin rolling. He worked for many years before as an attorney, which also stimulated the adrenalin. Learn to use the adrenalin. Look forward to the serge of adrenaline.

EXPECT SOMETHING TO GO NOT AS PLANNED AS PART OF THE DEAL

Rather than thinking of something going wrong, think of it as not going as planned. It’s life-improv. Take what comes at you and keep the ball rolling until you get the situation back on track.
Vaughn was in his first play years ago where he was holding a stack of pages and all the pages went flying all over the stage.

Peter Trencher was in a play where every night the director changed the script and the blocking, and he found himself blocking to the script of the previous night. Actors tell me about how entire scenes in a play have revolved around a prop, and when they went for the prop, it was missing.

CHANGES OCCUR CONSTANTLY OUT OF CASTING OFFICES

On any given day, our casting office may get change in times, days, characters, and direction. We take the changes in stride and so should you.

EARN YOUR BADGE OF COURAGE

Take a look at many changes that have happened to you and access if you hate these changes or have you embraced them as part of the acting business? I invite you to let me know of surprises that gave you your badge of courage.

How to Get Your Submissions Noticed

By Terry Berland – Written for The Networker

Don’t miss an important element on your submission that could get you an audition.

There are many ways a casting director makes their choices as to whom to bring in for the audition. First, I’ll mention the obvious ones, and then I’ll talk about the one that stands out to me as not so obvious and not used enough.

The obvious things a casting director looks for to choose you to come in to the audition are . . .

  1. Your photo.
  2. Things we’ve seen you in in the past.
  3. Your resume.
  4. Your training.
  5. Your special skills.

. . . and the One Big Thing That Grabs A Casting Director’s Attention . . .

The Note Section

Use the note section to grab our attention, which seventy-five percent of agents and actors submitting directly don‘t do. Add a note to your submission to highlight some special skill. In breakdowns, when we are looking for any kind of special skill, we ask for notes. Agents and talent are not paying much attention to this, so we even cry out our request by putting it in caps: NOTE YOUR SPECIAL SKILL.

Agents Who Don’t Put Notes On Submissions

I’ve called agents who don’t add a note to ask why they didn’t note the special skill as requested. Their answer is, “It’s listed on the resume. I would not have submitted them if they didn’t have the special skill.” Yes, that makes sense and is the logical thinking of a good, responsible agent. But things have changed in the fast-paced industry with the number of submissions easily reaching 4,000 and more.

The New Effective Way Of Submitting Vs. The Old Way Of Submitting

With electronic submissions, there are many more agents and managers submitting who I’ll call “click happy.” It just takes a click to submit a photo; some people really go at it with very little thought behind it. “Throw the spaghetti on the wall, and see what sticks.” When we call the agent’s office to question why many wrong people have been submitted, some of the answers we get are actually “Oh, my intern worked on those submissions” or “Oh, I guess I didn’t read that piece of information.” The end result of having to weed through an excessive number of submissions, whether they are off-target or on-target, results in lot of exasperation with the ones that are off-target, and just not enough time overall go through everything.

Looking At Notes Helps A Casting Director Weed Through Submissions

A solution on the casting end is to first ask for notes, and then scan all submissions and look for those notes. I am not talking about notes that are permanently on a submission. For instance, I was looking for a good comedic actor with an authentic sounding Boston accent. A permanent submission note of “Great dramatic actor” clearly had noting to do with this breakdown, and shows lack of thought and attention to the specifics of the breakdown.

Examples Of Effective Notes To Put On Your Submissions

Make your note very specific. Here are some examples of good notes.

If the breakdown calls for:

  • A Boston Accent, note: “Born and raised in Boston.”
  • Good Jogger, note: “Jogs two miles three times a week.”
  • Good Tennis Player, note: “Was on college tennis team.”
  • Good at Improv, note: “Advanced Groundling.”
  • Drives a Motor Cycle: “Motorcycle License, owns a motorcycle.”
  • Speaks Spanish Fluently, note: “Speaks Spanish fluently.”
  • Real Photographer: “Special event photographer,” or “Owns two Nikons.”

Some of the notes are obvious and just repeat what we have asked for, but it will make your submission stand out, rather than requiring us to read through 4,000 resumes and hopefully get to yours.

The most important thing is to really be honest. You will be doing yourself and us a really big favor.

If You Think You Have No Power Think Again

By Terry Berland – Written for The Networker

Power-Cloud

Since you are the seller, and not the buyer, you have to find a way to stay positive. You may think you are in a less desirable position than the buyer. Let’s turn the tables in your direction. Maybe you would feel more empowered if you really thought about the fact that the casting director, producer, or director who are doing the “buying” (finding the right actor) do not have a commercial, film, or whatever else they are casting until they find the right talent.

Some actors walk into a casting room jazzed, excited to be there, and ready to create. Their attitude is “Give me a few minutes and I’ll give you what I got.” They bounce out of the room happy and go on to whatever comes along next, while other people are nervous and self-sabotaging in the audition and after.

Let’s look at ways to turn your negative thoughts that sabotage you into thoughts that empower you.

Know The Specific Acting Technique

All the advice I’m giving you will be based on the fact that you have to know how to act. In addition, you have to know a specific acting technique for whatever venue you are acting in, be that commercial, voiceover, film, television, or theatre. You should be working out in an acting class on an on-going basis, striving to be the best actor you can be, bringing out the true, authentic, honest you.

Now we can look at how your thoughts can be more empowering.

Negative Thought: The casting director has power over me.
Powerful Thought: That casting director is nothing without good actors. I am part of the collaborative team in casting this commercial, voiceover, TV show, film, or theatre piece.

Let me remind you, you can make or break a casting director.

Negative Thought:  Am I making the right choice? I’m worried I made the wrong choice.
Powerful Thought: Yay, I am being given the chance to create. Neutral is not a choice. If I stay neutral, no personality comes out. It’s my choice. I am really part of this creative process.

Reassure yourself that there is no guaranteed right choice. Remind yourself, if there was one right choice, they would have given you that choice to act out.

Acting coaches are hired by celebrities to make choices and work with the actor on their choices for a particular piece. I can assure you, even those coaches hope they made the choice that’s going to result in their client being cast. They also are not sure if they made the right choice.

But what’s the alternative?

No choice – no chance. Giving them no choice gives you no chance to be considered.

Negative Thought: You walk into the call back room and the voice in your head has a lot to say, mainly second guessing what they want. Every choice you’ve made flies out of your head.
Powerful Thought: Use the “I have to make a choice” scenario. Remind yourself you are in the midst of a creative process. They don’t exactly know what they want. “They are counting on me.”

The Callback Nerves

Negative Thought: You walk into the callback room where there are lots of clients and think  “I’m nervous. Who are these people? Will they like me?”
Powerful Thought: These decision makers in the room are human beings who have jobs. They are each there for a particular purpose. One being, their opinion counts as to who will be booked. Some do not have as much say and are more responsible for working on locations or wardrobe or responsible for bringing everything in on budget. However, all are answering to their client’s needs to the best of their ability.

Other powerful thoughts to use if the people in the room make you nervous:
I am so glad I don’t have a 9 to 5 job, pushing papers.
I am so grateful I can be artistic and creative.
I am so grateful I have a survival job that enables me to audition.

Negative Thought: I’m worried that I won’t get the job.
Powerful Thought: One person gets the job for various reasons, some of which are nonsensical or at the very least have nothing to do with my acting ability. I know I gave a really good audition. Even if I don’t get this one, I know this casting director, producer, or director will keep me in mind for other things.

Here’s the one you hear all the time: don’t take it personally. As long as you know your acting is top notch, you are constantly working out and under the guidance of a good acting teacher in whatever venue, I can assure you the rest is a process that is part of the crazy job of acting.

The suggestions in this blog will be more effective if you add power thoughts of your own to each situation.