Casting Director EXPOSES Why 1 in 70 Actors Actually Book

That way, if you do it two times two different ways and you send it in in separate clips, if I love this one and I don't like that one, I don't have to submit that one.

So that, that's what I...

But if it's a long, you know, if it's five pages, I'm not gonna ask you to do that twice, so.

Yeah.

Can you talk a little bit more even about the two takes? Because I feel like some actors really struggle with the two takes, and I think it's really important that actors understand you don't want to just do two takes for the sake of doing two takes.

Like, if you do a take that actually doesn't make any sense and doesn't exist in the world, you may be shooting yourself in the foot.

So can you talk about, like, ideally what you like to see in two takes?

Yes.

So when we say two takes, it doesn't mean, "How are you? How are you? How are you?" You know, [chuckles] that's not what we mean by two take.

Don't do different, uh, don't emphasize different words because I've gotten those.

That's not what we want.

Or don't do a different take that makes absolutely no sense.

And what I mean by that is, let's say you're a waiter in a restaurant, and you go up to the table and, you know, "May I take your order?" And you have two or three lines, and, "What would you like to eat, and what may I ta- may I suggest the chocolate cake?" Whatever the, the lines are.

And then what actors will do, they'll do the same thing mean and angry.

And when I teach, you kn- you know, I teach, so when I teach, I say to them, "Do you really think a waiter in the restaurant is gonna be mean and angry when they're at work?" "Well, I was trying to find something different." Yes, but find something different that makes sense for that character.

Don't just pick some different kind of, uh, performance just because we ask for two different takes.

Maybe one is more, more, you know, just the facts, ma'am, just business, and maybe one is cutesy and fun.

And I always tell pretty girls, I always say, "Be a little flirty." You know? Pretty girls can be a little flirty, or if you're a good-looking guy, be a little flirty, you know? Like, y- you have that going on.

Find what would make sense for you and your character to come up with two.

But don't come up with something that...

Well, angry is a different way, so I'll be an angry cashier.

I'll be an angry waiter.

I'll be, you know, an, an angry girlfriend.

B- but, but that doesn't make sense.

So when, when you're asked to do two takes two different ways, do two different performances that make sense for those, for that character.

That way, if you do it two times two different ways and you send it in in separate clips, if I love this one and I don't like that one, I don't have to submit that one.

So that, that's what I...

But if it's a long, you know, if it's five pages, I'm not gonna ask you to do that twice, so.

Yeah.

Can you talk a little bit more even about the two takes? Because I feel like some actors really struggle with the two takes, and I think it's really important that actors understand you don't want to just do two takes for the sake of doing two takes.

Like, if you do a take that actually doesn't make any sense and doesn't exist in the world, you may be shooting yourself in the foot.

So can you talk about, like, ideally what you like to see in two takes?

Yes.

So when we say two takes, it doesn't mean, "How are you? How are you? How are you?" You know, [chuckles] that's not what we mean by two take.

Don't do different, uh, don't emphasize different words because I've gotten those.

That's not what we want.

Or don't do a different take that makes absolutely no sense.

And what I mean by that is, let's say you're a waiter in a restaurant, and you go up to the table and, you know, "May I take your order?" And you have two or three lines, and, "What would you like to eat, and what may I ta- may I suggest the chocolate cake?" Whatever the, the lines are.

And then what actors will do, they'll do the same thing mean and angry.

And when I teach, you kn- you know, I teach, so when I teach, I say to them, "Do you really think a waiter in the restaurant is gonna be mean and angry when they're at work?" "Well, I was trying to find something different." Yes, but find something different that makes sense for that character.

Don't just pick some different kind of, uh, performance just because we ask for two different takes.

Maybe one is more, more, you know, just the facts, ma'am, just business, and maybe one is cutesy and fun.

And I always tell pretty girls, I always say, "Be a little flirty." You know? Pretty girls can be a little flirty, or if you're a good-looking guy, be a little flirty, you know? Like, y- you have that going on.

Find what would make sense for you and your character to come up with two.

But don't come up with something that...

Well, angry is a different way, so I'll be an angry cashier.

I'll be an angry waiter.

I'll be, you know, an, an angry girlfriend.

B- but, but that doesn't make sense.

So when, when you're asked to do two takes two different ways, do two different performances that make sense for those, for that character.