How to Audition for TV Commercials

From the Ad Agency Point of View

W. L. Jenkins

• Publisher: Allworth
• Year: 2005
• Print ISBN: 9781581154191
• eBook ISBN: 9781621533689
• Topic: Media & Performing Arts
• Subtopic: Careers

What do ad agencies look for when casting TV commercials? This insider's guide, written by a former actor turned ad agency exec, has the answers. It provides step—by—step instructions to help actors understand and master the entire process, from assessing one's looks and personality to the agency preproduction process, from reading scripts and understanding storyboards to preparing for the audition, doing the shoot, and more.Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

Setting the Bar High

In the eighties there was a very funny, successful Bay Area–theater director/actor named Doug Johnson who moved to L.A. and became an extremely successful commercial actor. You’d see him all over TV in all kinds of commercials, and, like all successful commercial actors, he appeared mostly in small parts: one-liners, a guy in a crowd who reacts to something off-camera, the snoring husband, a guy walking by a swimming pool who gets splashed—all kinds of little bits and stuff. (And every performance was golden, by the way.) Sadly, Doug isn’t with us anymore, but if he was still here, I’m sure he’d tell you that if you treat every part as if it were a big one, you’ll book lots of small ones. It’s good advice because every part you read for is important—no matter how small—because it’s a job. The key to being successful as a commercial actor over a long period of time is to work! work! work! by doing small parts. The secret is that you must treat every audition like it’s a call for a big meaty part or a reoccurring character appearing in a long-running campaign. That’s how you get the small ones.

So, with that thought squarely in mind, for the sake of getting the most out of this book, and as a way to cover all the bases, let’s set the bar high and assume that all auditions are for major parts. If we base everything we do on the concept that each job is a big one, then eventually, you’ll prepare for each audition with the energy that’s required for a big endeavor. You’ll be way ahead of the pack.

Let’s take a look at commercials themselves, too.

Yes, sadly, when you turn on the TV you see a lot of crappy ads. All those horrid mattress spots and lowbrow local car ads annoy me, too, and they give a bad name to my profession, but, unfortunately, everybody goes out on calls for stuff like that. It’s the real world. So, what should we do? Well, if we assume here that all the commercials you’ll be auditioning for are crappy, then you may end up doing crappy work. So, to make your experience with this book worthwhile (and as part of my quest to eradicate bad commercials from the world), we’ll also assume that all commercials are good ones—you know, funny, memorable, award-winning ads for big-time name brands that have big-time ad agencies and directors creating them. It just seems to make sense that approaching commercials with a positive mind-set here in this book, and especially in real-life, will elevate your thinking and your attitude and should help you be better prepared for most situations you’ll encounter. The upside is that if you land a part standing next to that crazy furniture-store owner/spokesman with the bad toupee, hopefully, you’ll be able to do us all a favor by applying what you’ve learned and making it a better commercial.

You versus the Business of Commercial Acting

I’m not going to quote all those labor statistics about how many people become actors every day and how just a few SAG actors make all the money. You’re either someone who’s deciding to be an actor and all the horror stories be damned, or you’re somebody who’s already made big sacrifices by becoming an actor; you’re dedicated, and you know how difficult it can be. So do I, and I wish you the best.

In any case, you’ve been compelled to be an actor for various reasons, and I’ll bet the most important are based on how acting makes you feel. It can be very rewarding in many personal ways. But there’s something else. Aside from all your “burning desire,” and the feeling that this is what you’re destined to do, and the fact that performing gives you a rush that few people can comprehend, there’s one thing that some of you have discovered. Whether you’re enrolled in a drama curriculum in college, or drama school, or playing in little theater, or “big theatah,” or taking scene-study classes, or whether you live in New York, L.A., or another large urban area and you’re getting some TV and film roles—wherever you are—somewhere along the line you’ve come to the conclusion that, “You know what? I’m pretty damn good!” The applause, the better roles, the nods from your peers, and the hand on your shoulder from your acting teacher have validated this.

And, maybe you’ve discovered something extremely important— an element of your ability that will be your key to becoming a successful commercial actor.

You’ve discovered the incredible value of being.

CAN YOU “ACT?”

Hopefully, you’ve found out that there’s no such thing as acting anymore, is there? Really, acting is the wrong term. “Acting” is pretending. The new term is “being,” and being is the pure state of existence that makes situations real. (For familiarity’s sake, throughout this book, I’ll use the words act or acting, but I really mean being.)

Oddly enough, you may look at a TV commercial and say, “Yeah, but that looks so unreal.” Don’t think that way. Because honest to goodness, when it comes to TV commercials, ad agencies and directors want to see someone that we believe. We want somebody who is that person in the commercial.

TIP: Forget about acting. Ad agencies want to see people who are real.

We don’t want to see any pretend acting. Acting gets in the way of reality. We want people who are being.

“Right!” you say. “I’ll buy that. I think I’m pretty good at being … um, er, acting.”

Okay, you can act. But can you act in commercials?

Really. It’s one thing to be able to clop around stage in a gown and bodice, all covered in makeup, and spew out iambic pentameter as nicely as Judi Dench and have people believe you, and it’s another to look directly into a camera and talk about vaginal dryness and have people not only believe you, but go out and buy the product.

How do you find this out? Do yourself (and the world’s ad agencies) a favor and take a commercial-acting or audition class. (Or, short of that, seek out some like-minded actors, tape some commercials, transcribe the action and the copy, and try out some moves on each other.)

TIP: The only way to find out if you can actually handle acting in commercials is to take commercial classes.

By taking commercial classes, you’ll have opportunities to determine if you can really be believable playing bizarre characters in the most twisted situations you can imagine. You’ll learn if you can talk directly to a camera. You’ll find out whether or not you can take a small piece of business that seems inherently inane and turn it into a moment that makes total sense. You’ll discover whether or not you can take a line of dialogue or a simple gesture and make millions of people think you’ve got the answer to their most intimate problems. You’d be surprised how many actors come into an audition and can’t do something as simple as take a walk across a room. It’s true.

Actors who are relaxed, natural, and believable in totally unbelievable situations are actors we’re interested in. If, however, in the classroom you discover that there are aspects of commercial acting that are too intimidating or just make you squeamishly uncomfortable, then you may want to make the decision to stick with acting experiences that are more enriching for you. You’re not gonna make it in commercials, my friend, because believe it or not, we’ll clearly see that you can’t hack it right there on your initial audition tape. And you won’t even get a callback.

GET SERIOUS

Okay, so you’re not “acting.” Or, at least you think you’re not acting. You think you’re good at being.

So, why do you want to do commercials?

I can see you scrunching up your face and coming up with some good reasons—which you probably have. But a lot of actors want to do commercials for the wrong reasons. And, just like a bad poker player who “tells” the other players he’s bluffing by nervously scratching his ear or lighting a cigarette, when these actors appear on tape or in the studio, they show us that they’re just fooling, too.

Here’s where they’re coming from:

Many actors think that a “look” and a fair amount of talent is all they need to walk right in and start working.

Some actors go out on calls thinking they’ll pick up a little work even while feeling deep down inside that working in commercials is “slumming.” Commercials are beneath them, not as pure as film, or, especially, “theatah.” “Well, it isn’t art,” as some holier-than-thou once said.

Both of these attitudes tie into the biggest misconception of all: Commercials look easy to do. No. They look like easy money. Actors (and ordinary folk) sit at home on the couch watching commercials and they see somebody react or smile or take a swig of cola or whatever and they say, “Come on, it’s gotta be a piece of cake. A couple of minute’s work, and wait for the checks to roll in. Ka-ching!”

Here’s something that my old friend, Troy Evans, told me. Troy started acting in a little theater in Montana over thirty years ago and has been hard at work ever since. He’s never given up, and the result has been long-running roles on shows like China Beach and ER, dozens of movies playing people like John Travolta’s friend in Michael, and a good share of commercials along the way.

“People ask me this maybe twenty-five times a year, ‘Aren’t you that guy on ER? That actor?’ And I say, ‘Yes, I am.’ Then, they ask, ‘How’d you get in on that?’ People don’t view it as something you do, they view it as something you get in on. Like, how did Barry Bonds get in on baseball! Well, he worked his ass off from the time he was a little kid, and he continues to.”

TIP: If you think this looks like an easy way to make money, you don’t have a prayer in this business.

Actors who are guided by that kind of thinking aren’t really offending anyone. But they’re hurting their chances for success because what they’re really saying is that they aren’t serious about this business. Too bad, because commercials attract a lot of highly motivated people, and people who take it seriously get the bookings. That’s not to say that you shouldn’t pursue—other acting avenues while you try to work in commercials— everybody does but if you’re going to do this, DO IT FOR KEEPS. Ladies and gentlemen, there’s a lot at stake when you walk into that audition studio. Yes, you could book a job that pays you $35,000. That’s the kind of high-altitude money that can give you a nosebleed. You could book a job that pays much less—say, a couple of car payments’ worth. That’s good, too. Or, you could book a part that gets you noticed. …

“Yeah, yeah, yeah,” you’re thinking. “Excuse me. Time out. The money and everything aside, all I’m doing is just coming in to read for a part, right?”

Hmm. Well, yes, but if you think that’s all there is to it, then you’re missing out on an important consideration that leaves so many actors wondering why they’re not getting anywhere. There’s something else at stake that many actors don’t open their eyes to:

The people who sit back there in the dark on the opposite side of the room.

You must take a look at it from the ad agency’s side. We’re responsible for spending $100,000 or $250,000 or $1,000,000 or more of our clients’ money for one thirty-second TV commercial, solely for the purpose of selling something of theirs. That’s our job. The cost, and, therefore, the agency’s responsibility, creates huge pressure on us to succeed. Understandably, we take this very seriously. And if you come in and you’re not as serious as we are, then we don’t want you! If you’re not serious, believe me, we can see it and smell it. Just like sitting across the table from the bad poker player who “tells,” we can spot someone with a half-assed attitude the minute they appear on the tape of the initial call.

TIP: Agency people and directors can usually spot the people who don’t take commercials seriously.

There’s another thing you should know up front: Most advertising people haven’t been in the entertainment business. They don’t talk your language. They don’t have an appreciation for your craft or what it’s like to be an actor, and, therefore, they’re not going to treat you with the understanding that you may be used to. They don’t make traditional casting decisions. In their minds, the final decision between you and another talented actor who looks just as right for the part as you do may not be about your being right for the part at all. It may come down to, “Are you a person we want to work with?” An actor who seems to be taking the situation lightly isn’t somebody we want to work with.

TIP: Most agency people don’t appreciate the task of acting and the vagaries of the entertainment business.

Another huge, snarling enemy of casting decisions is time. Not the thirty-second time frame of a TV spot (we’ll get to that), but the time it takes to produce those thirty seconds. The production pace for a commercial is so insanely fast you’d think you should wear a helmet. That’s why auditioning for a commercial is a much different experience than auditioning for theater, film, or television. The timeframe, starting from the agency’s initial preproduction meeting with the director, through the casting process to the end of the shoot, may take only tw...

Table of contents

• Cover
• Praise for How to Audition for TV Commercials
• Half Title
• Title
• Copyright
• Dedication
• Dedication1
• Table of Contents
• Prologue: The Other Side of the Room
• Chapter One: Setting the Bar High
• Chapter Two: You versus the Business of Commercial Acting
• Chapter Three: It’s Time for Your Close-Up
• Chapter Four: Advertising 101— How an Ad Agency Works, How Commercials Are Created, and How You Can Benefit
• Chapter Five: Preproduction
• Chapter Six: Ordinary People Watch TV for the Entertainment; Commercial Actors Watch TV for the Commercials
• Chapter Seven: Land Mines and Gold Mines in Commercial Scripts
• Chapter Eight: Storyboards
• Chapter Nine: Good Things to Know before You Audition
• Chapter Ten: In the Waiting Area
• Chapter Eleven: In the Studio
• Chapter Twelve: Back at the Agency— Looking at First-Call Auditions: How We Choose Who Makes the Cut
• Chapter Thirteen: You’ve Made It to the Callback
• Chapter Fourteen: Oh, Behaave! The Seven Deadly Sins Actors Commit in Front of the Agency
• Chapter Fifteen: Decision Time
• Chapter Sixteen: Congratulations, You Got the Part
• Chapter Seventeen: Resources—Make it Your Business to Know Our Business
• The Last Word
• Acknowledgements
• Index
• Books From all Worthpress