Laugh and the world laughs with you; cry and the other guy gets cast. Each negative remark lessens your chances; each positive word increases them. Be especially aware of how you talk about yourself. We've seen actors with credits as long as their arms talk as if they're total greenhorns. Question: "What have you done recently?" Answer, from an actor who has just finished a guest-starring role on a major TV show: "Oh... not much." Or "Well, I just did a small/nothing/tiny/silly little/non-existent role on Broadway." Think we're kidding? Those are word-for-word answers we've heard.
You'll be treated exactly as you tell people to treat you, and they'll look on your previous work exactly in the manner in which you explain it. We're not talking about "hype." We're talking about pride.
Don't be hostile
It's surprisingly common. If you've got a temporary mad on, go kick a garbage can. If it's permanent, go yell at a psychiatrist or take up linebacking for the Chicago Bears. As theatrical casting director Susan Sukman observes, "Negative vibes will come out whether you know it or not."
Don't talk in a vacuum
It's a conversation, not a monologue. Some actors give the impression the interviewer could leave the room and they would just go on yapping. Listen to what the interviewer says and ask questions. For example: it's the start of the interview and your topic is skiing. As you talk, the interviewer says "Oh, I love to ski." The foolish actor drones on. The smart actor zooms in: "You do? Do you have a favorite spot?" Bang! A conversation. The more you involve the interviewer, the more involved he'll be with you.
Don'f fry to be Henny Youngman
There's a difference between having a sense of humor and having an act. Also, never make yourself the butt of a joke; like Rodney Dangerfield, you'll get no respect. Be sure your sense of humor isn't negative, cruel or so off-the-wall that people will think you're weird. And don't get glad-handy or act like an Uncle Tom. All of these things hide you as much as sitting there like a sphinx. In fact, they're worse. At least sphinxes don't land on you like a ton of bricks.
Know when to leave
When you hear "Thank you for coming in," it's curtain. Skip the exit speech. Split.
SPECIAL NOTES
The techniques we've talked about will work with anyone, with the following minor differences:
If the interview is with an agent, there really are two possible kinds of interview, depending on:
- Whether he only wants to talk business.
- Whether he likes to schmooz first, with business later.
If the interview is with a producer/director (a "look- see"):
Try making your topic his project.-If you've read the script, ask a question about it. If not, you could always say, "I'm curious, how did you come across the script?" or "Will you be shooting on location?"
There's also a chance he may start talking about the project on his own. When that happens, bad interviewees sit stone-faced, as if to say, "But what about ME?" Good interviewees are fascinated. Not only are you conversing on a subject dear to his heart, but the talk is almost always interesting.
In short, show an interest in his project (but not an overt interest in putting yourself in it).
Also, as theatrical casting director Marci Liroff points out, "Some directors love you to say 'I liked your last movie'; others hate it." We'd advise not saying anything. Makes you look too much like a fan or that you're applying heavy butter.
A word about nerves
General interviews/look-sees can be rattling, but most industry people will go out of their way to relax you. Theatrical casting director Sharon Himes is an example: "When I see an actor is nervous, I'll tell him, 'I just did two loads of diapers this morning.'"
Granted, it's hard to be blasé, especially if you walk in, and there, seated on a sofa, is your all-time favorite star. Unfortunately, you just can't come off as a Nervous Nelly; they'll worry that if you can't handle the pressure of a simple interview, you sure won't be able to handle the pressure on a set. "If you go in very shy and inhibited and very insecure about what you're doing there in that office, they're not going to feel very respectful of your talent, unfortunately," says theatrical agent Maxine Arnold.
Remembering not to "apply for a job" can help. So can remembering to treat anyone you meet as a fellow professional, not as some god whom you can't wait to worship. Nobody hires fans.
Practice
If you can't afford a class, set up a tape recorder (or vid-cam) and do a mock interview. Enlist a friend to ask the questions and listen to (or watch) the playback of your answers. Videotape can be invaluable - gets rid of tics.
And a word about listening
Oh don't be silly. Of course, when the interviewer opens his mouth you'll listen. Theatrical casting director Mike Fenton:
"We were casting a film with Claude LeLouch. LeLouch speaks English but he doesn't think he speaks it very well... We were having interviews. An actor would come in and sit in a chair, and I would say - per Mr.
LeLouch's instructions - 'Mr. LeLouch is very pleased that you've come to see him today. He is hesitant about his English. He doesn't feel comfortable speaking it, so he probably will not say a word. But what he would like to know, first of all, is: What did you have for dinner last night?'
"Well, that stumped a lot of actors. I mean they were totally thrown. They didn't know what to do. And then, there would be a further instruction: 'Say it as if you were very angry' or 'Say it as if you were very joyous'; 'Say it in a sensual way'; 'Say it as if you were mad at the world.' So there were different instructions on how to say what you had for dinner last night. Well, it was bizarre. An overwhelming number of actors never heard the second instruction. They just went off saying what they had for dinner without adding to it the inflection he was looking for. So that, at least 65 percent of the actors who came in for that motion picture never had a chance at it because they never heard what was said to them. They never heard the instructions. It's real important to listen."
'Nuffsaid.
