Recently in Training Category

Class #7 (Jerry Coyle)

The Improv audition

The two most important things to do (if you have a partner)?

• Listen
• Say 'yes' to everything

Class #6 (Jerry Coyle)

Continuation of introduction to "doubles," working with a partner:

Who are these two people?

1. One is the client -- they present a solution to a "problem."
2. The other is the customer (who the viewer identifies with), the one with the problem, the one who's thrilled to receive the clients solution to the problem.

Review

• Read the copy to "understand it."
• Identify the environment and any critical objects (there will almost always be at least one)
• If I think I'll need any real props. (e.g., a table to sit at) for the audition, ask and ye might receive.

Class #5 (Batt Johnson)

Introductions to "doubles," working with a partner:

• Stand shoulder to shoulder so both me and my partner are in the camera view frame.
• Cheat in towards my partner so I can easily look at them and the cue card with minimal effort.
• As my partner is talking, look at the cue card/camera part of the time, especially for my reactions.

Class #4 (Batt Johnson)

New Habits -- do these everyday:

• In public, if I see ad copy on a sign or building, read it out loud -- it's New York City, no one will blink an eye.
• Study real people doing everyday things -- just pay close attention and note, my brain will store it away for future use.
• Listen to read everyday dialogue. Again, just pay close attention and note it.
• Read big scary technical-scientific terminology out loud; get used to easily/effortlessly saying these words.

Class #1 (Jerry Coyle)

How to handle 1-line copy, e.g., "I needs some tylenol:"

General notes:

• What's my POV (point of view, my feelings or attitude towards the project -- Hint: keep it positive!)
• If the product is some sort of pain or discomfort reliever, show the pain, be as big as possible, but keep it real (e.g., if the copy is for tylenol, then I have a headache or a sore shoulder -- I don't have cancer, I'm not having a massive heart attack, I'm not terminal) -- and keep breathing!

Class #2 (Batt Johnson)

General notes:

• Avoid white and very dark clothes at the audition as these are not very camera friendly (something to do with something technical called color balancing).
• The eyes tell the story -- connect with the camera. Breathe to the camera
• New daily habit: find some Comerica copy and sight and cold read each day, out loud, e.g., marketing brochures, independent freelancers, google it: free broadcasting copy to practice, great ad copy
• listen to and emulate the pros. e.g., The Commercial Client, Voice 1 2 3, Voices.com,

What to do when I get the copy:

Part of my master plan of making my living as an actor includes the highly lucrative arena of commercial film acting, so I've signed up for an Advanced On-Camera Commercial Audition class at Weist Barron. This summer it's being taught by two great highly experienced and successful commercial actors, Jerry Coyleand Batt Johnson. Simultaneously, I'm working my way through How to Audition for TV Commercials: From the Ad Agency Point of View, which I'll review in another post.

Thank goodness it's fun, because it's not as easy as it looks -- not at all. Far from it. And it's highly competitive, but to handle that "worry," I'll just instead focus on the fun and my own growth. Towards this end. This is what I've learned, so far . . .