First, you'll be given a mark on which you stand or sit (if possible, stand - it's easier to be energetic). Next, they'll ask you to "slate" - give your name - into the lens. Treat the "slate" as part of your scene. As Beverly Long puts it, "From the moment you hit the door, by God, you'd better sparkle - including the way you say your name."
You may see an "idiot card" next to, above or immediately beneath the camera lens. Don't use it - you'll look like you're reading. If you have a lot of lines, put the copy on that clipboard we mentioned and hold it up at eye level, just out of camera range. Glance at the copy as needed. (You could hold the copy without the clipboard, but even the slightest case of nerves will cause the paper to shake, rattle and roll.)
If anyone says anything, listen. As commercial casting director Pamela Campus says, "Listen for the key word whenever you're being given direction. For example, someone says to you 'You're looking out the window. It's raining. It's a Sunday afternoon and it's cozy and intimate with your spouse.' 'Cozy' and 'intimate' are your key words." A common complaint is that actors don't listen. "You don't have to have a lot to say. More important is to listen to what's said to you." says commercial producer Bob Wollin.
If you don't like your reading, you can ask to do it again. But don't be surprised if they say no. As mentioned, they're often seeing more than 100 people. Also, don't assume a "no" answer means they didn't like what you did - they may have loved it.
Whatever you do, don't make negative comments on your reading - especially on camera. Before anyone says "cut," we've seen beaming actors suddenly break, grimace and say "Aaargh." That's the last thing anyone watching those tapes will see - the actor with a contorted, ugly face, being negative. Aaaargh.
AFTER THE AUDITION
Be sure to sign out. If you are kept longer than an hour, you're supposed to be paid. But as one commercial casting director says, "If it's only five or ten minutes, to keep relations with the casting director, I'd advise you to be kind and sign out under that one hour." It's that old penny-wise, pound-foolish thing again.
Then go home, feed your goldfish, and don't give the audition another thought. The advertiser and the producer are back at the studio, arguing over the length of your eyebrows - We're not kidding.
After screening the original tape, the advertiser will want to call back (often several times) the people he likes. If that's you, remember you didn't get there by doing something wrong. Match your original reading as close as memory allows - unless instructed otherwise - and wear exactly what you wore the first time. "If the ribbon was on the right side of your hair the first time, I'd advise it not be on the left the second time," says Pamela Campus.
A FINAL WORD ABOUT AUDITIONING
It's one thing to read about doing commercial auditions, another to do them. There's also the added problem of dealing with the camera. We've seen that little collection of wires make jelly of even the most experienced. So, if you want to do commercials, take commercial workshops. Be sure the class uses videotape, that you get plenty of turns on camera, and that it's taught by someone (usually a casting director) who works in the field - that's who's best equipped to teach you how to be a "P&G housewife with perk." "Every one of my clients had taken at least one commercial workshop with a commercial casting director," says casting director and former commercial agent Kathy Smith. "Schools can teach but commercial casting directors can relate experiences." Sometimes it's good to take a class just to find out how the casting director works.
And watch commercials - lots of them. Notice the "spokesman" style, what trends are current, how various products are advertised. Those "messages from our sponsor" are your own personal school bells.
ON THE SET
The only real difference will probably be the number of takes and the number of possible "advisers" hovering around the director.
Anyone from the account executive to the product owner himself may be intently watching. After each take, you'll see numerous huddles. Everybody worries a lot. Somebody doesn't like the way your hair looks. Somebody notices the product was at the wrong angle. Somebody thinks the direction is getting too serious. And, yes, somebody doesn't like the way you said, "Goshums Martha, this stuff is great." Try not to let all this throw you, or take any of it personally, even if some joker says something incredibly tactless (such as "That was lousy!"). Could be he's not a showbiz type and isn't used to working with actors. Throughout the day, have a "Hey, no sweat" attitude.
Since they've got you for eight hours and have only 30 seconds of film to put together, you'll probably say "So eat Munchies!" enough times to dream about those little crackers for weeks. (We know an actor who had to dive into a swimming pool 200 times in one day.) As commercial producer Bob Wollin put it, "Even if the very first take is good, they may pick at it for hours."
Afterwards, go home and, again, forget it. Don't hold your breath waiting for all those residuals to come rolling in. Even if everything went beautifully, they may never use the commercial.
THE DEAL
You're paid union scale for the day (called your "session fee"). "Scale" commercials make up the bulk of all commercials produced. Unless you're a celebrity, stuntman, or established model, you'll rarely get more than scale.
WAITING TO SHOOT
You'll get a wardrobe call, and most likely have to go to a fitting. Since most commercials are shot off the lots, you'll also be given a map to the location. And don't change a thing about your appearance. That dynamite suntan can wait.
