We've come around to "No." Creates more problems than it solves. Sometimes, though, the producer/director/casting director will launch into a dissertation. Let 'em talk. The more said, the more you know. If what you're hearing is completely different from the way you rehearsed it, switch gears and get as close to that as possible. Yep, you've got to be a chameleon in this business.
Should I ask "How do you want this done?"
"That's amateur night," says director Ralph Senensky. Why? Is it wrong for a chef to ask if you want your eggs scrambled or sunny-side up? Four (typical) views:
Commercial casting director Pamela Campus: "For years I thought, 'Gee, I'll just tell every actor who comes in, 'this is what we want, and this is how we want it.' And the actors would look at me as if to say, 'Oh, O.K.' And then they'd still deliver it their way. I learned the hard way. You let them deliver and see what they do, and you either like it or you cfon't. And if you don't like it, but you think they have potential, then you offer a suggestion - once. And if they're really good, they'll get it."
Producer William Kayden: "What we want is what you give us. We don't want to sit around and intellectualize the role."
Director Leslie Martinson: "I never pre-channel an actor's thinking. [Besides] we're hearing the lines for the first time too."
Director Noel Black: "Some great actor may come in and have an inspiration, and for me to tell him something might be unfair . . . insulting."
Should I say anything about the script?
Not worth it. Compliments are nice but tend in this situation to turn your nose brown. Anything negative will end it for you. If they didn't write it, they chose it. "In all the years I've worked," says one veteran director, "I've only had one producer ever say to me, This is a piece of crap. Do the best you can. Dazzle them with footwork.'" Remember that and dazzle them with footwork.
Should I ask to sit or stand?
Nope. Sit or stand without asking permission (assuming you're not directed to do otherwise). You're not a child, you're a pro. "Come in and take charge of the room," says theatrical casting director Deborah Barylski. "Not in a jerky way, but as a professional. That's where your power is. Take it."
How long before I start?
A beat. During which, you collect yourself and get in the scene. Nobody ever got cast by breaking the record for the fastest start. But, remember, we said a beat. Don't stand off in a corner "preparing" for five minutes. That's artsy-craftsy, wastes people's time and will lose it for you right there. "When someone does that in my office," says personal manager Larry Fonseca, I'll give them about five seconds and then I'll say 'Next!'"
Who do I play to?
To the person reading opposite you. Don't include the others - they want to watch. Just make sure they can. Position yourself so they can see your face. And get the hair out of your eyes.
What if the other person is bad?
Play it as if he's Laurence Olivier. If the other person (often the casting director) can't act his way out of a paper script, and you commit to what you rehearsed, it really won't matter - provided you go at your own pace. If you feel rushed or can't hear your cues, ask him (nicely) to slow down, speak up, or whatever.
What if I get lost, blow or accidentia change a line?
Nobody cares. They know the difference between that and an "improvement." But you care. So, until the very end, if something goes awry: start over. Nobody will get mad. Trying to muddle on with your mind still going over that mistake will destroy your reading. "Stop if you're doing badly," says producer Philip Mandelker. "After all, you've only got one chance. If you can, try to do it humorously. What have you got to lose?"
What if I'm not sure it worked?
Try saying something like "Was that the general ballpark?" (Not "Was I good?') And don't be negative. They may have loved it. If you (or they) are unhappy, ask to do it again - once. You can't keep doing it over and over. Two tries and rack your cue. "When a reading is over, it's over," says producer Michael Rhodes.
Did they hate it if they directed me?
"Even if the reading was right on the money I'm almost always going to give you a second direction, just to see how quickly you adjust and whether you resist the direction," says theatrical casting director Deborah Barylski. That happens a lot - but only if they like you. So, don't get upset, rejoice! They almost never stop an actor who can't act. They let him read straight through and say goodbye. "One of the things I always do when I read actors is to direct them," says director Andrew McCullough. "Even if I like what you're doing I will ask you to do something else."
Why? Are they just playing games?
Director/cinematographer Bruce Logan answers: "I never read an actor once, because I want to know if I can change what they did or if they can only give me one thing. Usually, what they brought in is a lot better than what I give them, but it's just a way of finding out how flexible they are."
What if then just cut me off?
Not a bad sign either. It probably means they liked you and your reading and they don't need to hear any more. (This is decidedly different from a New York stage audition, where being cut off is almost always curtains.)
What if I'm asked to read a different scene or character?
Ask for time. Never read anything cold - it's the surest road to failure. You must work on it. And unless they get sticky about it - which we seriously doubt - leave the room. This shouldn't upset anybody, if for no other reason than it's a sign of your professionalism. That's not a bromide. It's the absolute truth.
Should I ask if I got the part?
Only if you don't want it.
What if I was terrible because my salamander died?
Make no apologies or excuses. No matter how justified, excuses always sound like excuses. Besides, you probably don't need an apology: most actors feel they did far worse than was the case. Say thanks and go.
Isn't "they're on your side" just a lot of bull?
Honestly, no. They really do want you to be successful. Theatrical casting director Tony Shepherd put it all into perspective: "We all want you to be good, if for no other reason than once we get the role cast, we all get to go home."
